COR  REAU'NU  nUO... 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


MUSIC 
LIBRARY 


.9.  READING  ROOIWONO" 


The   Metropolitan   Museum 

OF   Art 


the   CROSBY    BROWN    COLLECTION 


OF 


MUSICAL    INSTRUMENTS 


OF 


ALL    NATIONS 


Catalogue 


OF 


Keyboard    Instruments 

I'RKl'ARKIl   I  NDER   THK   DIRECTION    AND    ISSUED    WITH    THE     AUTHORIZATION 

OF     IHE    DONOR 


gallp:ries    25,   26,    27,   28,  29 

CENTRAL    CASES 


N   K  «       ^  0  R  K 

The     M  k  r  k  ( )  ]•  o  1. 1  r  a  \     M  i-  s  f;  im    of    Art 
'  903 


(\f\  I 


TABLE    OF    CONTENTS 


iXTRr-)nrrTr)Rv  afattrr. 

PAGE 

1  'refatory   Xotc    il 

Tmroduclion  hy  A.  J.   I  lipkins,   I'.S.A 13 

CATALOCiri':. 

I.     I\i:vr.o.\R:)  Strixci;!)  I  xsikl'mkxts,  Pn/CKr.n. 

I'latc  I.     I'saltcry  by  J'laiiiic?  Aiiiniiius  Ucrcro.     (Xo.  \002.) 23 

Plates  Tf.  1 1  r.     Spinet  iir  \'irsinal.     (  Xo.  1230.) 25.  2y 

Plates  1  \',  \'.     Spinet  liy  l)(jmenicii  di  i'esaro.     (  Xo.  2527. ) 29.  31 

Plates  \'l,   \'ll.     Spinet  or  \'irginal   by  Franciscus   Bonafinis.      (Xo. 

zyc-s-)    3,^  .^T 

Plates  \'I11,  IX.     Spinet  or  X'irginal.     (Xo.   1209.) ^^J.  39 

Plate  X.     Spinet  or  Xirginal  by  Cristofel  Ruckers.      (Xo.  2344.)....  41 
^     j'lates  XI,  XII.     Doulile  Spinet  or  X'irginal  by  Lndovieus  (irovvelns. 

►<              (  Xo.    1 196. )    43,  45 

'^     1  Mate  .X  1 11.     Octave  Spinet  or  X'irginal.     (  Xo.  1 77S. ) 47 

]  Mate  XIV.     Octave  Spinet.     ( Xo.  1227. ) 49 

Plates  XV,  XVI.    Spinet  by  Charles  Haward.     (  Xo.  1223. ) 31,  53 

^    Plates  XVII,  XVIII.    Spinet  by  Thomas  Hitchcock.     (Xo.  1212.) .  .55,  57 

v^    Plates  XIX,  XX.    Harpsichord.     (Xti.  1222. ) 59,  61 

.    Plates  XXI,  XXII.    Harpsichdrd  Ijy  Jerome  de  Zentis.     (  Xo.  1221. )  .63,  65 
«*    Plates    XXIII,    XXI\'.      Harpsichord    by    Jerome    de    Zentis.      (X^o. 

"^             1220.)     r,j.  Cg 

p4    Plates  XX\'.  XX\1,  XX\1 1.      Harpsichord.      (  Xo.   1231.)  .  .'.  .71,  73,  75 

l~^    Plate  XX\'III.    Harpsichord  by  Ju.  Paulus  Leoni.     (No.  1226.) jj 

Plates  XXIX,  XXX.     Harpsichcinl  hy  Jacobus  &  Aliraham   Kirknian. 

(  Xo.    1678.)    79,  81 

Plate  XXXI.     Harpsichord.     (  Xo.  2929.) 83 

Plates  XXXII,  XXXIll.     Harpsichord,  double-banked,  by  Louis  I'.ellot. 

(Xo.  1218.)   85,  87 

Plates    XXXI\',  XXX\".      Harpsichord,    double-banked,    by    Joannes 

Couchet.     ( Xo.  2363. )    89,  91 


—  .V 


TAllIJ'.    Ol"    (■(  ).\TEXTS 


PACE 

Plates  XXXVI,  XXXVII,  XXXMII.     HarpsKlicini,  tripk-l)anke(l,  by 

Vincentius  Sodi.     (  Xo.  2359. ) 93-  95.     97 

Plates  XXXIX,  XL.    Clavicytheriuni  or  Clavicembalo  N'erticale.     (No. 

1225.)    99,     lOI 

Plates  XLI,  XLII.     Clavicytherium  or  Clavicembalo  N'erticale.      (X'o. 

1224.)     103,   105 

Plate  XLIII.     Clavibarp.     (  Xo.  2430. ) 107 


II.     Keybo.\rd  Strivlkfi  I\stiu-mi:xts.  Struck. 


Plate  XLI\'.     Dulcimer.     (Xo.   1440.) 

Plate  XL\  .    Clavichord  by  Alex.  Trasontinus.     (Xo.  2543.  j 

Plate  XLVI.     Clavichord.     (Xo.  1216.) 

Plates  XLVII,  XLVIII.    Clavichord.     (  Xo.  121 5. ) 1 17, 

Plate  XLIX.     Clavichonl.     (  Xo.  1207. ) 

Plates   L,    LI.      Piano   by    Bartholomaeus   Christophoris    (Cristofori). 

(Xo.    1219. )    123, 

Plate  LI  I.    Piano  by  Johannes  Zumpe.     (  Xo.  2965.  1 

Plates  LIII,  LR'.     Piano.     (Xo.  2910.) 129, 

Plates  LV,  L\'I.     Piano.     (Xo.  1 197. ) 133, 

Plate  LVII.     Piano,  upright  model,  by  Carl  Lang,  Xuremberg.      ( Xo. 

1203.)    

Plates  LVIII,  LIX.     Piano  by  .\nton  ^'attcr.     (  Xo.  1214. )    139, 

Plate  LX.    Piano  by  Andre  Stein.     (Xo.  1213, ) 

Plates  LXI,  LXII,  LXIII.     Portable  Piano  by  Longman  &  Proderip. 

(Xo.  2849.)    T45.   147. 

Plate  LXIV.     Piano  by  George  Astor.     (Xo.  2403.) 

Plate  LX\'.    Piano  by  Thomas  Western.     (X'o.  1855.) 

Plate  LXVI.     Piano.     (Xo.  1206.) 

Plates  LXVII,  LXMII.     Piano  by  John  Broadwood  &  Sons.      ( Xo. 

2805.) 157. 

Plates  LXIX,  LXX.     Piano,   upright  model,  by  John   Broadwood   & 

Sons.     (X^o.  2768.)    161, 

Plate  LXXI.    Piano  by  Clementi  et  Cie.     (  Xo.  1208.) 

Plates  LXXII,  LXXl'lI,  LXXR^     Piano,  upright  model,  by  \\'.   W. 

Stodart.     (Xo.  2804.)    167,   169, 

Plates  LXX\',  LXXA'I.    Piano  by  Evenden  &  Sons.     (Xo.  2718.) ..  173, 


IT 

13 

15 

19 
21 

25 
27 
31 

35 

17 

41 
43 

49 
51 

53 

55 

59 


63 
^5 


/o 


TAiu.i-:  oi-   cnxTi'ix'rs 


PAGE 

Plates  LXW'II.   LXXX'IH.      Piano  by    Hrani   Freres   et   Cic.      (No. 

2747. 1     I//.  179 

Plate  LXXIX.     I'iano.     (  Xo.  1951. )   iSi 

Plates  LXXX.  LXXXI.  Piano  by  Chas.  Allirccht.  (Xo.  1 199.) .  .  183.  185 
I'lates    LXXXII.    LXXXIII.      Piano    by    liciijamin    Crehore.       ( Xo. 

2858. )    187.  189 

I'late  LXXXI \'.     Piano  by  Conrad  Meyer.     (Xo.  2945.) 191 

Plates  LXXX\',  LXXX\'I.     Piano  by  Loud  Bros.     (No.  2812.) .  .  193,  195 

Plate  LXXX\'II.     Piano  by  Jobn  Tallman.     (No.  T198.) 197 

Plate  LXXX\'n  I.     Piano  Harp.     (Xo.  1 187.) 199 

Plate  LXXXIX.     i.  Box  Piano.     (Xo.  1228.) 201 

2.  Orpliica.     (No.  1246.) 201 

Plate  XC.     \\V>rk-box  Piano.     (No.  1204.) 203 

III.     Kp;vi!o.\Rn  SiRixfiUD  Instruments,  Bowed. 

Plate  XCI.    Glaviola.     ( Xo.  2404. 1 207 

Plate  XriT.     Bowed  Instrument  witb  keyboard.     (  Xo.  2908.) 209 

1\".     Keyl'.oaiui   Wind  Instruments. 

Plates  XCIII,  XCR",  XCV.     Resjal  by  Georff  \"oll  (?).     (Xo.  2883.) 

213.  215.  217 
Plates  XCVI.  XCVII,  XCMII,  XCIX.     Cabinet  Organ  by  Lawrence 

Hauslais.     (No.  1191.)    219,  221,  223,  225 

Plate  C.     Portative  Organ.     ( No.  1 188.) 227 

Plate  CI.     Small  Portative  Organ.     (X'o.  1193.) 229 

Plate  CII.    Small  Cabinet  Organ.    (No.  1190.) 231 

Plate  cm.    Bible  Regal.     (Xo.  2027.) 233 

Plate  CIV.     Book  Organ.     ( No.  2601.) 235 

Plate  CV.     Book  Organ.     (No.  1668.) 237 

Plate  CVI.     Book  Organ.     (No.  2289.I 239 

Plates  CVII,  CVUJ.  CIX.    Chamber  Organ  by  Thos.  Chapman.     (No. 

1780.)    241,  243,  245 

Plate  ex.     Seraphine.     (No.  T779.) 247 

Plate  CXI.    Melodeon.     ( No.  2496) 249 

Plate  CXII.     T.  Rocking  Melodeon  by  Caleb  Pacard.     (Xo.  1522.) 251 

J.  Rocking  Melodeon.     (X'^o.  1195.) 251 

3.  Harmoniflute.     ( Xo.  1200. ) 251 


TAHLE    C)l'    CONTEXTS 


PAGE 

Plate  CXIH.     i.  Harmoniphon.     (Xd.  i  \i)2.) 253 

2.  I'ortahle  Melodeoii.     (  Xo.  2402. ) 253 

Plates  CXI \',  C"X\'.     Clavi-(  )r,<^aiiuni  1)\   lU-nnans  l'>rock.     (Xo.  2741.) 

-255.  -257 
Plates  CX\'I.  CX\  [I.     Piano  with  i'ipe  (  )rsjan  Attachment,  1)\-  Long'- 

nian  &  Hroderip.   (  Xo.  2803. ) 259,  261 

Plates  CXVIIl.  CXIX.     Organo  Piano.     (  Xo.  27-6.) 263,  265 

Plate  CXX.     C  )rsano  Piano.     (  Xo.  2oy8. ) jC^j 

\'.     Ki:vi!o.\KD  Instrumk.xts  with   Sonorous  Sl"ust.\xces. 

Plates  CXXI,  CXXII.    Glassichord  by  Leftel.      (  Xo.  2854.) 271,  2J^^ 

Plates  CXXill,  CXXR'.  CXX\'.    Glassichord.    (  Xo.  2766. ) .  .273.  277.  27^) 

Plate  CXX\T.     1.  ( ilockenspiel.     (  Xo.  1210. ) 281 

2.  (ilassichord.     (  .Xo.   1202. ) 281 

Plate  CXX\'ir.     Piano  Harmonica  by  P..  Cramer  &  Co.    (  X'o.  1201.).  .  283 

\  I.       ML'SIC.M.    .\ctESSORTE.'^. 

Eist  of  .\ctions    2'!'^7 

Abidcls  illustratiniL;"  the  action  of  the  different  types  of  Kexboard  Instruments. 

Keyboard  Strini^ed  Instruments,   Plucked 2(;i,  2c;3 

Ke\li(iru"il  .^trintred  Instruments,  .Struck 2^.)'^.  21)7.  2')<).  301,   303 


Al'PKN  DICES 
1. 

]  )r;i\\iii.L;s    ilhistraliiiiL;    tlic    action    ni   {h^_■   iliffiTcnt    typos    (if   kcylmard 
slrini'i'cl  inslninicnts. 


Ki:\'i;().\k'i)  SiKixcKD  T\STRfMi:\  rs,  ri.fcKi-.n. 

I'Ar.K, 
PlatL'  C'X'W'l  1 1.     Spinet  or  Virginal  Action jiji 

1.  Front  of  jack. 

2.  Back  of  jack. 

3.  Jack  returning  to  [Kisitinn. 

4.  Jack  resting  on  balanced  key. 

Plate  CXXIX.         I  iarp.sicluird    Action    293 

1.  Key  supporting  jacks. 

2.  Clavicytheriiun   (l"prif>Iu  harpsichord)    .\clion. 


Kevi!o.\uu  Stkixced  Ixstkl'.\ii:.\ts,  Simu'cic. 

j/^  r.\r.F. 

Plate  CXXX.  ( "lavidiord  .-Vction   /.'T _'ys 


ivicliord  .-Vction    .Ji\ 

I.  "  Gchunden  "   princii)Ie.  ,y 


"  Bundfroi  "   princiiile. 
Plate  C'.X.X.XL         Piano    .\ctions    ' 297 

1.  The  Cristofori  ArJ/Totifc.  1709. 

2.  The  Cristofori,  >rction,  1720. 

"'Lite  CXX.XH.       I'iano  .\ctions,  ^^r^ 299 

3.  The  Z'>!npc  .Action.  1760-65. 

4.  i..^  linglisli  .\ction    (Early  Broadvvood),  1777. 

5.  The  Broad  wood  Grand  .\ction.   1880. 

I'late  CXX.XIIL     Piano   Actions    301 

6.  Primitive  Viennese  .\ction.   without  escapement. 

7.  John  .'Vndreas  Stein's  Action,  primitive.  1777-1780. 
S.   Iniprn\ed    Viennese    Action.     .'Vndreas     Streicher 

and  Nanette  Stein,   c.   1S02. 

Plato  rXXXT\'.     I'iano   .\ctions    303 

9.  Steinuay   Grand   Repetition   .\ction,    Kjo^. 


—  7  — 


Ai'i'j-:.\i)icj':s 

TT. 

Docu-Mr.XTS  RrLATiNC.   ic)  TiiK  Ckistofoki  Piano. 

PAGi; 
T.   Statement  of  Signer  Diego  Martelli  concerning  the  Cristofori  Piano.  .    305 

2.  Translation  of  permit  to  visit  the  National  Museum  of  Florence  at  any 

time,  granted  to  Signora  ?ilartelli,  who  loaned  her  Cristofori  Piano- 
forte to  the  Museum 306 

3.  Copy  of  Affidavit  of  Giorgio  Cecchcrini  regarding  his  e.xamination  of 

the  Cristofori  Pianoforte 307 


INDICES 

I.      Index  of  Proper  Xanics 310 

If.     ( ieneral  Index 312 


■8  — 


lifu.  f .  w.  0nim 

AM)     TO      IHK     MkMOKV     OK 

i«r.  a.  -J.  I>ipbin6 

thk    faithful    friends    whose    unfailinii 

kindness   and   wise  counsel   have 

been  the   encouraoement 

and  inspiration  of  mv  musical  work,   this 

Keyboard   Catalooue 

IS 
AFFECTIONATELY     AND     (;RATEFULLY 

DKDICATHl     HV 


ifl.e.^i. 


P  R  i:  1<A  TO  R  Y      NO'll-: 


The  kcyl)oar(I  in.stnmunts  (lcscril)C(l  in  lliis  limik  funn  pari  of  iho  Cmsliy 
I'.niwn  collection  of  .Musical  Inslrniucnts  of  All  Xalions,  and  arc  described 
in  Handbook  Xo.  \  t,.  to  which  the  reader  is  referred  for  inforniatiini  con- 
cernino;  the  history  of  the  collection,  and  the  jjrincipies  of  its  classiticatiou 
and  arrant;enient.  The  present  loook  is  in  part  a  reprint,  in  part  a  snpple- 
nieiit.  While  the  descrijuions  have  been  taken  over  without  change  frcmi  the 
!ari;er  work,  many  of  the  illustrations  are  new.  The  latter  include  photo- 
L'Taphs,  often  in  more  than  one  view,  of  all  the  keyboard  instruments  now 
cimtained  in  the  Crosby  lirown  collection;  of  these,  Xos.  271S,  JJ'iS,  2804. 
2805,  2812,  2849,  2858,  2883.  2908,  2910,  2929,  2945,  2965  have  been  added 
since  the  issue  of  the  earlier  catalogue.  Tn  addition  to  the  description 
of  these  instruments,  which  is  here  printed  for  the  first  time,  supplementary 
notes  have  been  added  to  the  former  descriptions  where  it  seemed  important 
further  to  emphasize  some  point  in  connection  witli  tlie  develo]:>ment  of 
the  art.  For  the  Introduction,^  generously  furnished  by  Mr.  .\.  J.  Ilipkins, 
wdiose  services  to  the  history  of  the  keyboard  all  lovers  of  music  gratefully 
recognize,  the  collector  desires  to  express  her  heartfelt  thanks.  It  is  hopetl 
that  in  its  present  form  the  Handbook  may  serve  as  a  useful  guide  to  the 
study  of  the  collection. 

Of  the  four  chief  divisions  into  which  it  is  customary  to  divide 
nuisical  instruments,  only  three  are  represented  in  our  group;  the  strings, 
the  wind,  and  that  in  which  the  tone  is  produced  by  the  vibration  of  a 
sonorous  substance.  To  memljranous  instrmnents  like  the  drum,  the  prin- 
ciple of  the  keyboard  has  not  yet  l.)een  a]iplied. 

The  representatives  of  the  remaining  three  classes  are  placed  as  follows: 
The  strings  are  in  the  large  cases  in  Cialleries  2/,  28,  and  29,  the  former  con- 
taining those  instruments,  like  the  Spinet,  the  A'irginal,  and  the  Harpsichord, 
in  which  the  tone  is  obtained  by  plucking:  the  latter,  tliose.  like  the  Clavi- 
chord and  the  I'iano,  in  which  the  tone  is  obtained  by  striking.  The  wind 
instruments,  organs,  harmoniums,  etc.,  are  contained  in  Gallery  26,  and  the 
sonorous  instruments  in  Gallery  25.  Part  of  the  Central  Case  in  the  latter 
Gallerv  has  licen  arranged  as  a  type  case  to  illustrate  the  development  of  the 
two  leading  classes  of  string  keyboard  instruments,  the   plucked  and   the 


'Reprinted  in  IlanUliuok  Xo.   tj.  p;igo  .xxiii. 


—  I  I 


THE    ^rETROI'OLITAX    .ML"SKL".M    Ol"    AR' 


hammer-struck,  from  tliuir  prototypes,  the  psaltery  aiul  the  dulcimer.     Two 
examples  of  keyboard  instruments  played  with  a  bow  are  placed  in  Gallery  28. 

Models  designed  to  illustrate  the  leading  types  of  action  employed  in  the 
keyboard  have  beeii  placed  in  the  cases,  and  may  be  found  with  the  instru- 
ments they  are  designed  to  illustrate.  Owing  to  their  small  size  it  has  not 
been  possible  to  secure  effective  photographs,  and  it  has  therefore  been 
deemed  best  not  to  attempt  to  reproduce  them  in  the  catalogue.  For  the 
benefit  of  the  student  who  desires  further  information,  a  list  of  draw-ings, 
with  the  descriptions  illustrating  the  action  of  the  two  chief  types  of  key- 
board stringed  instruments,  has  been  added  in  an  appendix. 

In  the  present  catalogue  the  instruments  are  arranged  in  the  following 
five  groups  : 

1.     Keyboard    Stringed    Instruments — Plucked.       Spinets,    \"irginals, 
Harpsichords. 

II.     Keyboard  .Stringed  Instruiuents — Struck.     Clavichords,  I'ianos. 

III.     Keyboard  Stringed  Instruments — Bowed.     Claviola. 

I\  .     Keyboard  \Mnd  Instruments — Organs,  Harmoniums,  etc. 
^'.      Kevlioarcl   Instruments    with    Sonorous    .Substances — ( ilassichorils, 
( iliickeuspiel,  etc. 

\  1.      Musical  .\ccessories — Models  of  Action. 

Within  each  group  the  tirder  of  age  has  been  followed  as  far  as  possible. 

M.  E.  B. 


12- 


INTRODUCTION 


Rv  A.   I.   Hii'Kixs,  I'.S.A. 


'["here  are  iii>  imisical  iiistrunients  that  during  the  past  four  liundrcd 
years  have  been  more  generallv  distributed  where  Western  music  has  been 
known  than  those  with  k'eyboards,  whether  their  sound  is  produced  from 
strings,  or  with  what  is  understood  by  wind.  The  reason  for  this  favor  is  the 
comparative  ease  with  wliich  the  sounds  are  elicited,  without  the  player 
having  to  make  the  note,  and  the  facilities  the  keyboard  gives  for  including, 
as  far  as  hands  and  fingers  will  permit,  the  different  voices  or  ])arts.  and  the 
figuration  of  a  harnifniized  musical  composition,  itself  an  outcome  of  these 
facilities.  The  vidliii  and  wind  (|uartets  require  as  many  performers  as  there 
are  parts  to  present  a  like  combination.  The  nearest  approach  to  a  keyboard 
stringed  instrument  was  the  Lute,  as  perfected  toward  the  end  of  the  six- 
teenth century,  but  the  difficulty  of  performance  was  beyond  the  ability  of 
most  who  attempted  it,  and  there  had  to  be.  even  with  the  most  skilled,  many 
unavoidable  lacunas.  The  spinet-player,  or  claviceml)alist,  bad  incited  the 
lutenist  to  a  competition  in  which  the  lute  was  bound  ultimately  to  fail, 
but  not  without  leaving  a  memory  of  the  technique  of  the  lute  in  features 
retained  in  what  is  known  as  accompaniment. 

The  essential  foundation  of  any  stringed  instrument  is  in  the  strings ; 
ni  a  wind  instnunent,  in  the  reeds  and  pipes,  set  in  vibration  by  the  breath 
or  other  compression  of  air;  luU  the  characteristic  of  all,  whether  wind  or 
stringed,  made  to  sound  by  key  levers  (as  unlocking  the  sounds),  is  the 
keyboard.  It  arrests  the  e\e  at  once,  and  even  in  an  embryonic  form,  in 
the  Hurdy  Gurdy.  it  attracts  and  suggests  its  use.  By  whom  it  was  invented 
is  not  remembered.  The  earliest  keyboard  known  to  us  is  that  of  the 
Hydraulic  or  Water  Organ,  invented  in  the  second  century  B.  C.  at  Alex- 
andria— a  dreek  invention,  and  established  according  to  the  Greek  ideas 
of  music  that  then  prevailed.  Water  came  in  to  compress  the  air  for  the 
pipes,  as  bellows  were  used  for  the  same  purpose  subsequently.  The  pneu- 
matic apparatus  ma\'  indeed  have  precede<l  the  hydraulic,  but  the  latter,  we 
mav  sup]X)se  more  efficiently  a|)plied.  gained  the  more  prominent  place  and 
record.      We   are    liere   concerned   onlv    with    the   kevboard,    and    from    an 


—  13  — 


Tiir:  Mifi'Ki  )i'()LrrAX  .ml'sJ'ILWi  uf  art 


aiKiininoiis  writer  early  in  llic  Ciiristian  era  wo  know  that  six  octave  scales, 
each  re.senil)iin.L;-  in  furni  our  descentiiiiii-  minor  scale,  attained  a  compass 
of  two  octaves  hv  comliinins:;-  tile  1  l\i)cr-ly<lian,  Hy|)er-ionian,  Lydian, 
l'lir\i;ian.  ]  l\  |)o-l\  dian  and  11  \  |)o-|)hry.iL;ian  li'opoi,  or  key-modes.  'J"he  keys 
were  all  level,  as  shown  by  a  terra-cotta  model  of  snch  an  instrument  dus;-  up 
from  the  ruins  of  Carthage,  attrihuted  to  the  first  or  second  century  A.  1)., 
;uid  preserved  in  the  nuiseum  of  St.  I.ouis  at  Cartha.tcc  near  'J'unis.  in 
.\frica.  There  are  two  ke}i)oards,  of  ei.tilUeen  and  nineteen  keys  respectively. 
As  the  complete  H\(lraulikon,  accordin<^  to  the  anon}nious  writer,  had 
twentv-ouc,  we  may  lea\e  out  the  later  introduced  Hypcr-lxdian,  ami  ihen 
have  ei.Ljhtecn  keys,  comprising  the  notes  g,  a,  h  flat,  b  natural,  c,  d.  e  Hat, 
e,  f,  f  sharp,  g,  a  flat,  a,  b  flat,  b  natural,  c.  d,  e,  or  an  octave  lower  :  the  ])itch, 
how  ever,  being  uncertain.  The  nineteen  key-l)ank  included  a  note  we  arc  not 
sure  of.  According  to  \'itruvius  the  key  levers  were  balanced  with  horn 
springs  to  effect  their  return  when  released  by  the  toucli.  In  the  Carthage 
model,  to  save  space,  thev  were  probably  not  balanced  but  liinge<l.  as  in  a  six- 
teenth centurv  or  early  seventeenth  century  Regal,  one  of  the  organographic 
treasures  of  the  writer.  Vet.  in  later  ])neuniatic  (jrgans.  balanced  keys  do 
not  appear,  the  pipes  being  controlled  by  slides  like  the  handstops  in  a 
modern  organ,  perhaps  through  the  paucity  of  jiiju's  in  organs  we  have 
record  of,  that  existed  in  the  dark  ages.  It  is  almost  certain  that  balanced 
keys  had  to  be  reintroduced,  and  it  would  seem  thai  this  came  about  through 
the  Monochord.  a  pitch-measuring  string  apparatus,  employed  as  no  doubt 
the  verv  earlv  organs  were,  as  a  pitch-carrier  or  interval  measurer.  The 
monochord  was  a  sound-box.  very  like  an  .\eolian  Har]).  at  first  with  one 
string,  whence  the  name,  to  be  later  doubled,  trebled,  and  quadrupled,  thus 
becoming  ultimately  polycliord,  with  strings  of  the  same  measure,  as  in  an 
.Aeolian  harp,  the  notes  required  being  stopped  by  little  bridges  placed  by  hand 
against  the  measurement  giving  the  interval  sought.  The  hiirdy  gurdy  was, 
in  principle,  such  a  monochord  set  in  vibration  by  a  wheel,  producing  a  kind 
of  violin  tone,  but  stopped  b\-  little  wooden  plugs  analogous  to  keys.  It  oc- 
curred to  some  ingenious  monk — not  (luido  d'Arezzo  as  has  been  said,  but 
after  his  time — to  adapt,  by  means  of  a  keyboanl,  such  a  stopping  contrivance 
to  a  finger  or  plectrum-struck  string,  and  by  simple  leverage  to  produce 
the  Claviclitird.  \'irdung.  our  earliest  .-uuhoriiy  on  modern  musical  in- 
strumenls,  writing  in  1511.  sa\s  expresslv  it  was  not  then  known  when  the 
clavichord  was  invented,  or  b\  whom.  In  his  day  the  full  chromatic  key- 
board was  in  use,  with  lower  and  ujiper  ke_\s,  and  he  gives  a  diagram  of  an 


u  — 


il AXD-I'.OOK    Ol'"    Ki:^r.().\RI)    IXSTRl'.M]':XTS 


earlier  diatonic  kevljoard  willi  two  !">  Ilals.  followiiijj  Guido's  Hexachord 
System.  In  ]xiinl  oi  fact,  our  chromatic  keylioard,  but  with  the  upper  keys, 
or  sharps,  put  further  hack,  was  in  use  Umii  l)efore:  witness  the  prcat  llal- 
berstadt  organ,  huilt  hy  a  ]M-iest,  Xicliolas  Falier,  in  i.^u.  'I'lie  original 
manual  compass  was  evidently  preserved  when  the  organ  was  restored  in 
1495.  The  compass  was  an  old  Greek  one  of  fourteen  level  notes,  from  P>  in 
the  bass  clef  to  a'  in  the  triOile,  with  the  chromatic  notes  at  the  hack,  the 
natural  keys  very  wide,  so  that  a  major  tliird  was  as  much  as  the  hand  could 
stretch  ;  and,  no  fingering  heing  ptjssihle.  the  keys  were  depressed  hy  the 
side  of  the  hand  or  fist.  I'r.etorius,  our  next  informant  after  V'irdung  about 
nuisical  instruments,  tells  us  the  church  organ  of  St.  l-^gidius,  at  P)runswick, 
dated  i45fi,  permitted  the  stretch  of  a  fifth.  Of  another  organ  of  the  same 
period,  that  of  St.  Salvator  of  X'ienna.  he  says  the  compass  was  extended 
to  the  treble  clef  c-,  and  in  the  organ  at  Mildenberg  the  compass  was  ad- 
vanced to  the  higher  f-  of  the  treble  clef,  thus  getting  away  from  the 
boundarv  of  men's  voices.  l'>\'  this  time  the  short  measure  had  been  intro- 
duced, and  the  bass  11  pipe  sounded  a  third  lower,  G.  The  width  of  the  keys 
was  graduallv  being  lessened,  and  when  Crang.  in  141)').  built  the  great  organ 
of  St.  Blaise  at  Brunswick,  the  octave  was  only  the  width  of  nine  keys  of 
Pnetorius'  time,  when  that  interval  had  come  to  be  grasped,  as  it  has  since 
remained,  bv  an  average  hand.  P)Ut  Positive  and  Portative  organs  had  not 
wide  keys ;  in  fact,  the  latter,  in  the  fourteenth  century,  from  contemporary 
paintings,  appear  to  have  been  made  to  speak,  not  only  by  small 
level  ke\s,  but  by  gimlet-shaped  studs  something  like  the  keys  of  a  Concer- 
tina. The  Virginal,  or  Spinet,  which  was  a  Psaltery  to  which  keys  were 
adapted,  and  which,  as  well  as  the  clavichord,  had  been  in  use  in  the  earliest 
years  of  the  fifteenth  century,  even  in  th.e  oldest  specimens  ( there  is  one  dated 
1490)  had  always  narrow  keys,  as  in  the  modern  keyboard.  We  may  there- 
fore safely  conclude  that  the  keyljoard  permitting  the  gras])  of  the  octave 
is  original,  in  respect  to  ap]iroximate  measurement,  in  all  the  smaller  key- 
board instruments. 

Let  us  review  the  keyboard  ])ro\ince  at  the  opening  of  the  sixteenth 
century.  There  were  large  Church  Organs,  with  three  rows  of  keys  and 
pedals,  the  use  of  the  latter  having  originated  in  the  old  Harmony,  as  it  is 
called  in  Pr?etorius,  of  the  drone  (point  d'orgue).  The  original  Mixture 
was  now  broken  up  into  registers,  controlled  by  slides,  and  the  beating  or 
striking  reed  stops  were  about  to  be  introduced.  There  were  positive  organs 
for  chapels  and  small  i-hoirs,  and  some  portative  organs  still  remained  in 


THE    :\IETR01'LiLliAX    .MLSEL'-M    OF    ART 


use  for  ])rocessions.  In  doiiKstic  use  there  were  clavichords,  still  called 
monochords.  with  two  or  three  taii.<,feiits  (strikers),  producin.sj  their  notes 
from  one  pair  of  strings;  and  virginals  or  spinets,  with  jacks  (mechanical 
plectra),  oblong  and  pentagonal,  and  the  long,  wing-shaped  double  and 
treble  spinets,  known  as  Clavicembali,  Clavecins  or  Harpsichords.  In  I'.ng- 
land  the  first  independent  compositions  for  these  keyboard  instruments 
appeared;  a  prologue,  as  Dr.  ( )scar  Bie  calls  it,  in  his  fascinating  "  History 
of  Pianoforte  Playing,"  that  began  with  P)yrd  and  Bull,  and  ended  with 
Orlando  Gibbons  and  the  Restoration.  At  the  beginning  of  the  seventeenth 
century  was  the  dawn  of  opera  and  oratorio,  and  a  new  order  of  accom- 
paniment made  the  keyboard  instruments  indispensable  to  the  composer,  who 
had  already  found  them  his  help  and  strength  in  contrapuntal  problems.  At 
the  beginning  of  the  eighteenth  century  the  Paduan  harpsichord  maker 
Cristofori  had,  in  Florence,  by  his  mechanical  genius,  solved  the  problem  of 
producing  tone-gradation  by  a  keyboard,  in  the  new  Pianoforte — (irave- 
cembalo  col  Piano  e  Forte —  of  his  invention.  Attempts  had  been  made  to 
varv  the  harpsichord  by  stops,  particularly  in  the  Netherlands  and  England, 
and,  incited  bv  the  pianoforte,  to  lend  it  a  crcscciido  and  diniiiiuciido  by 
Plenius'  Swell,  and  ultimately  by  Shudi's  \'enetian  Swell,  which  has  found 
an  effective  development  in  the  organ  :  but  all  in  vain,  as  by  the  early  years 
of  the  nineteenth  century  the  pianoforte  had  won  the  victory  all  round  and 
Beethoven  had  composed  for  it. 

In  this  splendid  collection,  with  which  Mrs.  Crosby  Brown  has  become 
pre-eminently  associated,  we  may  find  many  noteworthy  examples  of  key- 
board instruments  and  their  history.  Among  interesting  specimens  of  the 
clavichord  is  one  numbered  2543'  in  the  catalogue,  attributed  to  Italy,  and 
dated  7  537.  Like  many  old  instruments,  this  one  has  met  with  considerable 
restoration,  not  entirely  to  its  advantage,  but  not  affecting  its  interest  and 
value.  Italian  natural  keys  -were  at  that  time  of  boxwood,  rarely  of  ivory 
or  other  material.  A  German  restorer  appears  to  have  substituted  black 
natural  keys  and  white  chromatics,  as  was  common  in  Germany  in  the 
eighteenth  centurv.  He  got  entangled  in  arranging  the  sequence  of  the 
chromatics,  possibly  from  not  understanding  the  fretting  by  which  two  .or 
three  keys  would  act  upon  one  pair  of  strings.  All  clavichords  were 
"  gebunden,"  or  fretted,  until  the  epoch  of  Bach.  But  there  were  frequently 
single  notes  at  the  treble  end,  and  this  may  have  puzzled  him.  Shifting  the 
last  chromatic  key  but  one  degree  upward  would  put  the  succession  right ;  the 


'  Plate  XLV. 


16  • 


IIAXD-LSOOK    OF    KI-'.^i;().\RL)    JXSTRUAIEXTS 


,t;r(iti]is  of  clirnnialics  l)oinjj  according-  U)  the  position  ni  tiie  fonrtli  and  fifth 
witliia  tlie  octave,  2  ,  3,  2,  3.  2,  and  2  for  the  natural  compass  from  B  below 
the  i)ass  clef  to  a^  in  the  treble,  twenty-one  level  keys.  To  the  same  restora- 
tion we  may  attribute  an  erroneous  relettcrins'  of  the  legend,  which  should 
surely  run  '■  L'T  ROSA  FLOS  FLORViM  TTA  HOC,"  etc.— "  as  the  rose 
is  the  flower  of  flowers,  so  this  is  the  clavichord  of  clavichords."  I^ut  it 
\\as  not  an  Italian  practice  to  use  such  legends,  and  this  instrument  may 
after  all  be  Flemish  or  Clerman.  Italian  or  not,  it  presents  very  early  features 
of  construction,  and  is  the  oldest  clavichord  I  have  met  with.  Tlie  earliest 
mentioned  in  my  "  Fli story  of  the  Pianoforte"'  is  dated  1547,  and  is  by 
Domenico  di  Pesaro  ( Dominicus  Pesaurensis).  There  is  a  beautiful  spinet, 
Xo.  2527,-  in  this  collection,  bearing  his  name,  dated  1561.  Another  rare 
sjiinet,  Xo.  2344,"  being  oblong,  would  by  many  be  regarded  as  a  virginal. 
A\'ith  Praetorius  the  pentagonal  was  the  virginal,  but  in  England,  from  the 
Tudor  time  until  the  Restoration,  the  name  "  \'irginal  "  covered  all  key- 
board stringed  instruments,  and  if  '"  Spinet  "  was  used  it  was  as  a  synonym. 
After  the  Restoration,  with  French  fashions,  the  name  "  .Spinet  "  came  into 
general  use.  What  makes  Xo.  2344  more  particularly  noteworthy  is  that 
it  is  by  C.  (Cristofcl)  Ruckers,  whose  instruments,  if  he  made  many,  are 
little  known,  and  whose  relationshi])  to  the  great  Ruckers  family  of  spinet 
and  harpsichord  makers  is  still  undetermined.  The  Florentine  instrument, 
Xo.  1230,^  is,  as  was  usual  with  pentagonal  or  hexagonal  spinets  in  Italy, 
in  a  false  case  from  which  it  can  lie  withdrawn.  Having  a  projecting',  not  a 
recessed,  keyboard,  it  must  be  as  old  as  the  middle  of  the  sixteenth  century. 
It  is  more  interesting  in  .-mother  sense:  the  wrest,  or  tuning-pins,  being  in- 
serted in  a  rail  in  front,  over  the  keyboard.  This  distinguishes  it  as  a  Spinetta 
Traversa,  which  is  more  rare  than  the  .Spinetta  Tavola,  in  which  the  wrest- 
]iins  are  at  the  right-hand  side,  like  a  clavichord  or  very  old  square  piano. 
The  spinetta  traversa  was  adopted  as  the  Fnglish  ])ost-Restoration  model,  as 
may  be  seen  in  Xo.  1223,-''  In-  Charles  Haward,  and  Xo.  1212,"  by  Thomas 
Hitchcock.  Haward  was  patronized  by  Pepys,  as  he  has  recorded  in 
his  diary.  The  specimen  here  is  dated  1684.  The  Hitchcocks.  Thomas  and 
John,  did  not  date  their  instruments,  ])ut  numbered  them  in  one  series;  tlie 
instrument  here  shown  is  Xo.  151S.  Xo.  1225"  is  an  upright  spinet  or 
Clavicvthcrium,  probablv  of  Roman  origin,  as  there  are  three  rosaces  in 
the  sound-board.      It  may  be  compared  in  its  structure  with  tlie  lovely  up- 


'T-ondon:   Xovello,   1896.     =  Plates  IV.  V.     "Plate  X.     'Plates  II,   III.     '  P!.-ile 
W.  XVI.    "  Plates  XVII,  XVIII.    "  Plates  XXXIX,  XL. 


—  17- 


THE    METROl'OLITAX    MUSEL'M    OF    ART 


ri.i;ht  harpsichord,  No.  1224.^  The  heautiful  paintings  are  again  a  later  ad- 
dition to  a  cherished  instrument,  another  proof  of  how  much  such  treasures 
were  valued  in  those  days!  To  display  the  paintings,  the  outer  case  is 
designed  like  a  bookcase,  not  following  the  lines  of  the  instrument.  As 
I  have  said  elsewhere,-  "  the  impression  conveyed  to  the  beholder  by  this 
unique  instrument  is  one  of  satisfaction,  due  to  the  simple  and  refined  scheme 
of  proportion." 

Then  there  is  the  no  less  rare  Double  Spinet  No.  1196,-*  by  Ludovicus 
Grovvelus  (mentioned  in  Huygens'  correspondence).  It  bears  the  maker's 
name  and  the  date,  1600.  The  painting  within  the  lid  portrays  the  duel 
between  David  and  Goliath,  the  victory  and  triumph  of  the  former,  who 
is  received  with  acclamation  and  music.  Prjetorius  relates  that  it  had  been 
the  custom  to  put  the  small  octave  spinets  (see  Xo.  1227-')  upon  the  larger 
instruments,  like  turrets  upon  a  tower;  in  this  specimen  the  Ottavina, 
although  removable,  is  included  within  the  case.  Only  two  other  such  double 
spinets  are  known,  both  decorated  witli  paintings  and  mottoes;  one  by 
Hans  Ruckers,  the  elder,  is  owned  by  Mr.  Morris  Steinert;"  the  other,  by- 
Martin  Vander  Beest,  dated  1580,  is  at  Nuremberg. 

The  appearance  of  three-bank  harpsichords  so  late  in  the  day,  after  the 
search  there  has  been  evervwhere  for  old  musical  instruments,  is  rather 
startling.  The  object  of  another  keyboard  is  of  simple  explanation.  The 
instruments  that  have  lieen  discovered  are  Italian,  and  as  it  was  not  the 
custom  in  Italy,  as  in  the  Netherlands  and  elsewhere,  to  make  harpsichords 
with  shifting  registers  and  hand  stops,  doubling  and,  as  we  here  see,  finally 
trebling  the  keyboards  was  sufficient  for  the  simple  changes  required.  Until 
the  time  of  Bach  and  Handel  registers  were  set  for  harpsichord  and  organ, 
as  was  the  case  with  the  orchestras  of  the  time,  for  the  duration  of  the 
movement.  No.  2359'''  is  a  magnificent  specimen  of  a  highly  decorated  three- 
bank  harpsichord  and  stand.  The  date  given,  1779,  seems  rather  late  for  it, 
although  it  has  a  pianoforte  front  of  that  epoch.  The  instrument  itself  is 
probably  older.  The  highest  keyboard  acts  upon  the  octave  string,  the  middle 
one  upon  the  octave  and  one  unison,  and  the  lowest  upon  the  two  unisons. 
In  No.  2363''  we  have  a  rare  double-harpsichord  by  one  of  the  inventors, 
Joannes  Couchet.  the  grandson  of  the  elder  Hans,  and  nephew  and  pupil 


'  Plates  XLI,  XLII.  = "  History  of  the  Pianoforte."  page  75.  '  Plates  XI.  XII. 
*  Plate  XIV.  '  Depicted  in  "  Musical  Instruments :  Historic.  Rare  and  Unique."  Edin- 
burgh, 1888.  Plate  XX.  "Plates  XXXVI,  XXXVII,  XXXVIII.  '  Plates  XXXIV, 
XXXV. 


—  18  — 


ii.WD-i'.ooK  oi'"  Kl-:^  r.oARi)  ixstkl/.m pints 


of  the  youni^er  Hans  or  Ji.'<in  Ruckcrs  of  Antwer]).  It  was  Couchet  who, 
ahout  1640,  changed  the  double  keyboard  harpsichord  from  a  mere  trans- 
posing instrument,  contrived  to  accommodate  the  Authentic  and  Plagal 
Church  modes  with  the  singers'  capabilities,  to  a  Forte  and  Piano 
harpsichord,  with  three  strings  (reducible  to  two  and  one)  upon  the  lower 
keyboard,  and  one  string  always  for  the  upper.  All  the  then  existing 
harpsichords  were  altered  to  suit  this  new  system.  .\n  exception  occurs 
in  one  I  have  met  with,  which  probably  owes  its  unaltered  condition  to  its 
long  preservation  in  Italy.  I  can  recall  only  one  other  Jan  Couchet  harpsi- 
chord, which  is  in  Edinburgh.  In  No.  2363  the  stops  or  slides  projecting 
from  the  side  of  the  case,  as  in  the  old  positive  organs,  control  the  regis- 
tration. 

Other  finely  decorated  harpsichords  in  this  rich  collection  show  how 
reverently,  at  one  time,  the  keyboard  instruinents  were  cared  for.  No. 
1218,^  b}'  Louis  Bellot,  and  one  from  Naples,  No.  1231,-  with  its  lovely 
paintings  of  musical  angels  and  the  sleeping  beauty  within  the  lid,  will  arrest 
attention.  Nos.  1220''  and  1221^  are  by  one  maker,  Jerome  de  Zentis,  of 
\nterbo,  and  are  also  painted  and  otherwise  adorned.  No.  1220  is  inscribed 
"  Hieronymus  Zenti  Fecit  RoniK,  A.  S.  JMDCLXVL,"  and  also  "  Joannes 
Ferrini  Florentinus  Restauravit,  MDCCLV."  Now  Ferrini  was  a  pupil 
of  Cristofori,  and  the  master  left  to  him  the  completion  of  the  pianofortes 
he  had  in  hand  at  the  time  of  his  death  in  1731.  Ferrini  had  in  the  previous 
year  made  the  pianoforte  for  the  Queen  of  Sjiain,  chronicled  by  Burney  as 
having  been  in  the  possession  of  the  great  singer,  Farinclli,  and  named  by 
him  "  Rafi'aello  d'Urbino"! 

Bartolommeo  di  Francesco  Cristofori,  was,  as  already  said,  the  inventor 
of  the  Pianoforte,  and  Airs.  Crosby  Brown  has  had  the  good  fortune  to 
acquire  in  Florence  the  earlier  of  the  two  pianofortes  known  to  have  been 
made  by  him.  This  treasure,  No.  1219,-'  is  her  most  important  benefaction 
to  this  great  collection.  Cristofori's  invention  was  published  in  1711,  and 
this  pianoforte,  dated  1 720,  represents  it  in  its  perfected  form.  The  action  has 
the  "escapement,"  without  which  there  can  be  no  vibrating  note;  the 
"  check,"  an  all-important  step  toward  repeating  notes :  the  shake,  etc. 
Cristofori's  action  was  exactly  copied  by  Silbermann.  as  well  as  the  structure 
of  the  instrument,  in  the  three  pianofortes  he  supplied  to  Frederick  the 
Great,  which  are  still  preserved  at  Potsdam.     The  biographical  notice  of 


'Plates    XXXII.    XXXIII.      =  Plates    XXV,    XXVI,    XXVII.      "Plates    XXIIT, 
XXIV.    *  Plates  XXI,  XXII.    '  Plates  L,  LI. 


19  — 


Till-:    MliTRoruLlTAN    MUSEU.M    OF    ART 


Cristofori  in  Grove's  "  Dictionary  of  .Music  and  Musicians  "'  skives  all  the 
known  antecedent  ]>arlieulars  of  this  historical  I'iano  e  Forte  and  its  ni- 
ventor  and  maker. 

That  there  should  he  in  this  collection  a  Claviola,  Xo.  2404,'  is  of  interest. 
This  sostinente  keyhoard  instrument  was  devised  hv  the  inventor  of  the 
modern  upright  pianoforte,  John  Isaac  Hawkins,  of  Ijordentown,  Xew 
Jersey.  He  was  an  Englishman  liy  hirth  and  an  engineer  hy  profession. 
He  introduced  the  claviola  to  the  puhlic  at  Philadelphia  in  1802.  In  his 
upright  pianoforte  of  1800  he  anticipated  many  features  of  construction 
that  have  since  Ijeen  generally  adopted,  one  being  the  complete  iron  frame. 

The  catalogue  numbers  1923-8,  3107-16  and  2401  -  are  attached  to  an  in- 
structive selection  of  models  of  actions,  showing  the  meclianical  agencies  em- 
ployed in  various  keyboard  instruments  to  convey  the  impact  of  the  touch  to 
the  strings  to  cause  their  vibration.  The  simplest  is  for  the  clavichord.  The 
depression  of  a  key  raises  a  slender  brass  upright,  a  "  tangent,"  on  the 
further  side  of  the  balance,  to  serve  as  a  striker,  and  at  the  same  time  as 
the  further  bridge  of  the  strings  affected.  When  the  key  returns  and  the 
tangent  quits  the  strings,  the  cloth  interwoven  at  the  back  damps  them — 
that  is  to  say,  stops  their  vibration.  The  next,  in  order  of  simplicity,  is  the 
spinet  and  harpsichord  "  jack,"  which  causes  a  small  plectrum  of  quill, 
sometimes  leather,  to  nick  the  string  in  passing,  the  little  cloth  damper 
coming  into  use  when  it  returns.  For  three  hundred  years,  until  its  use 
ended,  the  jack  remained  without  alteration.  The  more  complex  problem  of 
the  hammer  in  the  pianoforte  has,  from  Cristofori  to  the  present  time,  ex- 
ercised many  minds,  and  will  continue  to  do  so  as  the  Pianoforte  players 
contrive  increased  technical  difficulties  to  be  overcome  by  the  touch. 

September  9,  1901. 


'  Plate  XCI.     "See  Appendix  T,  page  2qo. 


20- 


Keyboard  Stringed  Instruments,  Plucked 
Spinets,  Virginals,  Harpsichords,  Etc. 

Corresponding  to  Class  I,   Division  II,   Section  A 
OF  Handbook  No.    13 


21  ■ 


THE    METROPOLITAX    ML'SKr^r    <  )I-    ART 


No.     1002 

Gallery    25 — Central   Case 

PSALTERY.  Trapeze-shaped  case  with  gilt  beading,  strung  with 
96  wire  strings,  arranged  in  24  sets  of  4,  passing  over  brass  bridges  at 
either  side  of  the  instrument  and  plucked  with  the  fingers  or  small  plectra 
of  bone  or  metal.  The  sound-board  pierced  with  2  open  holes.  The 
tuning-pins  arranged  on  the  right-hand  side.  The  case  in  which  the 
instrument  is  placed  is  painted  with  scroll-work,  musical  instruments  and 
figures  on  a  buff  ground;  the  interior  of  the  cover  having  an  interesting 
painting  of  players  on  all  kinds  of  musical  instruments.  Tyrol.  i8th 
Century.  In  the  instrument  is  the  following  label :  "  Joannes  Antonius 
Berero,  Trent,  1745." 

Length,  2  feet  8  inches.     Width,  i  foot  3  inches.     Depth,  5^/2  inches. 

The  Psaltery  is  placed  at  the  head  of  this  section  as  being  the  pre- 
decessor of  the  keyboards  with  plucked  strings. 


■22  ■ 


HAXn-l'.OOK    Ol"    KKYF.OARD    I  XSTRl'MEXTS 


PLATE     I 


No.    1002 


Till-:    .METROroLlTAX    .ML'SICr.M    OF    ART 


No.  1230 

Gallery  z~ — Central  Case 

SPIXET,  or  \'IRGIXAL.  Compass,  four  octaves  and  one  note, 
C  to  D ;  lowest  octave  short.  Quadrangular  ( the  left  side  shorter  than 
the  right),  supported  on  a  four-legged  stand  and  enclosed  in  an  outer 
case  decorated  with  stamped  leather  in  hluc  and  gold;  the  interior  of 
the  cover  ornamented  with  painted  birds  and  flowers  and  a  sacred  sub- 
ject, below  which  is  the  motto  "  liona  Est  Oratio  Cum  Jejunio  et 
Eleemosina."  The  instrument,  which  is  removable  from  its  outer  case, 
has  the  projecting  keyboard  characteristic  of  the  early  spinets.  The 
sound-board  has  a  sunken  rose.  Keys,  stained  wood  naturals  with  black 
sharps.     Leather  plectra,     ^vlaker  unknown.     Italy,     c.    1550. 

Length,  2  feet  9  inches.     Width.  1  foot  6  inches.     Depth.  Ti'j  inches. 

This  instrument  is  of  particular  interest,  inasmuch  as  the  wrest-pins 
being  placed  directly  over  the  keyboard  distinguish  it  as  a  Spinetta 
Traversa,  which  is  more  rare  than  the  Spinetta  Tavola.  in  which  the 
wrest-pins  are  placed  at  thr  right-hand  side,  as  in  the  Clavichord. 

In  the  i6th  Century  all  forms  of  this  class  of  instruments  were  in 
Italy  designated  as  "  .'spinetta."  in  England  as  "  \'irginal.'"  although 
Pn-etorius  refers  to  the  pentagonal  form  as  the  virginal.  When  the 
Spinetta  Traversa  was  adopted  as  the  English  post-Restoration  model 
in  the  17th  Century  (see  Xos.  1212.  Plates  X\"II.  X\TII.  and  T223.  Plates 
XV,  XYI),  and  came  into  popular  use  in  England,  the  name  '"  \'irginal  " 
■was  more  particularly  applied  to  the  oblong  or  rectangular  fc-irm.  the 
Spinetta  Tavola. 

For  description  of  the  .Action  of  the  Spinet  or  Virginal,  with  illustra- 
tions, see  Appendix  I,  pages  290,  291. 


iiAxn-iK  >(  )i\   ( )!•■   Ki'.NiK  )Aki)   i\"srkiMi-:.\  IS 


PT.ATK     fl 


No.  1230 


■25- 


THE  METROPOLIJAX  MUSEUM  OF  ART 


No.  1230 

Gallery   27 — Central    Case 

SPINET,  or  VIRGINAL,  same  as  Plate  II.  Second  view  with 
frontboard  removed,  showing  action.  The  position  of  the  wrest-pins, 
directlv  above  the  keyboard,  distinguishes  the  instrument  as  a  Spinetta 
Traversa. 


26  — 


iT.wn-nooK  or  kf.^t.oard  ixstrumf-XTS 


PLATE     III 


r^ 


If 


No.  1230 


-•/ 


THE    .METKorul.JTA.X    .ML'SEl'.M    OF    ART 


No.  2527 

Gallery  25 — Central  Case 

SPIXET.  Compass,  four  octaves,  C  to  C;  lowest  octave  short. 
Outer  case  pentagonal  resting  on  a  three-legged  stand  and  decorated 
with  gilt  gesso  work  on  a  green  ground,  the  interior  of  the  cover  orna- 
mented with  a  painting  representing  a  hoating  scene.  The  instrument, 
which  is  removable  from  its  outer  case,  is  of  cedar  wood  decorated 
with  ivory  studs,  and  has  the  projecting  keyboard.  The  sound-board  has 
a  single  pierced  rose.  Keys,  light  wood  naturals  with  black  sharps 
(renewed).  Leather  plectra.  Maker,  Domenico  di  Pesaro  (  Doinenicus 
Pesaurensis).     Italy.     1561. 

Length,  4  feet  8  inches.     Width.  1   tint  7  inches.     Depth,  7}!.  inches. 


—  28- 


HAND-BOOK    OF    KEYBOAKU    IXSJ  J<i;.\ll-:.\TS 


TLA  T  E     T  A' 


No.  2527 


—  29  — 


THE    METROPOLITAX    ?v[USI-:U.M    OF   ART 


No.  2527 

Gallery   25 — Central  Case 

SPIXET,  same  as  Plate  IV.     Second  view,  showing'  interior  decora- 
tion and  keyboard. 


30- 


HAND-BOOK   OF    KEYBOARD    INSTRUMENTS 


PLATE    V 


No.  2527 


THE    M1£TR(  )l'(jLrj'A.\     MISEL'.M    OF    ART 


No.  2765 

Gallery  27 — Central  Case 

SPINET,  or  VIRGINAL.  Three  octaves  and  a  sixth— C  to  A. 
Oblong  case  supported  on  a  four-legged  stand,  the  exterior  red  and  go'ul 
with  ornamental  scrollwork  in  color,  the  interior  of  the  lid  bearing  a 
winged  lion.  The  instrument,  which  is  removable  from  its  case,  is  pen- 
tagonal, with  a  projecting  keyboard,  and  studded  with  ivory.  Sound- 
board with  a  single  beautifully  cut  rose.  A  removable  silk  screen  for  pro- 
tecting the  action.  The  original  plectra  have  been  replaced  by  slips  of 
wood.  Inscribed:  "  Franciscus  Bonafinis,  1585."  also  "  After  a  lapse  of 
132  years.  Repaired  by  me  X.  N.  the  year  1717."  Italy.  1585. 
Length,  3  feet  3  inches.    \\'idth,  2  feet.     Dejilli.  i  fool. 


]IA\I)-11(  H  IK    Ol"    Ki;vi;(_).\Kl)    l\S'rRlMi:.\TS 


\I 


No.  2765 


-33  — 


THE  M I'/ikoi '() I. rr AX   .\ii"si:r.M  of  art 


No.  2765 

Gallery   27 — Central  Case 

SPINET,  or  VIRGINAL,  same  as  Plate  VI.    Second  view,  showing 
the  instrument  removed  from  its  outer  case. 


—  34- 


IIAXD-BOOK    OF    KEYROARI)    IXSTRL'MF.XTS 


PLATE     VII 


No.  2765 


'Ill-,  Mi-yiKi  )i'<  )Li  r.\.\   AiLsia'M  or  art 


No.  1209 

Gallery   27 — Central   Case 

SriNET,  or  MRGINAL.  Four  octaves,  C  to  C:  the  lowest  octave 
with  cut  sharps  giving  F  sharp,  1),  (1  shar]).  E  (a  later  addition  1.  The 
instrument  itself  is  pentagonal,  with  a  projecting  keyboard,  and  is  en- 
closed in  an  oblong  case,  the  interior  of  the  cover  painted  with  scroll- 
work, two  coats  of  arms,  and  a  group  of  dancing  boys.  Keys,  light  wood 
naturals,  with  black  sharps  (renewed).  Leather  plectra.  Maker  un- 
known.   Italy.     i6th  Century. 

Length,  5  feet  4  inches.     \\'iclth.  i  foot  6  iuches. 


-36- 


IIAXD-r.oOK    OI'    KI'.YP.DARn    INSTRUMENTS 


1'  L  A  T  !•;     \-  I  T  T 


No.  1209 


—  2,7  — 


THE    METROPOLITAX    Ml'SEU.\r    OF    ART 


No.   1209 

Gallery    27 — Central  Case 

SPINET,  or  VIRGINAL,  same  as  Plate  VIII.    Second  view,  show- 
ing: the  instrument  removed  from  its  outer  case. 


-38- 


HAND-BOOK   OF   KEYBOARD    INSTRUMENTS 


PLATE     r  X 


No.  1209 


•39  — 


Tiih;   Mi'.rkoi'i  )i.iT  \\   Mrsi'.r.M   oi-   art 


No.  2344 

Gallery  27 — Central  Case 

SI'IXET,  or  \'IRGIXAL.  ("oniiiass,  fmir  nctavcs  and  a  third — C 
to  E.  The  lowest  octave  shuii  ;  upper  1)  sharp  omitted.  (  )l)I()ng'.  siip- 
])orted  on  a  fmir-Iewfied  stand,  decorated  with  characteristic  jjaiier  of  tiie 
Mcmish  School.  The  sound-hoard  jiainted  with  flowers  and  fruit ;  the 
interior  of  the  cover  hearing^  the  niotti>,  "  ACTA  \"1RL"M  1M\(  )r>AXT." 
Keys,  ivorv  naturals,  with  hlack  sharps.  Ouill  plectra.  Inlanders,  c. 
1600.     L'ristofel  Ruckers   (C  R.  )   on  the  usual   Ruckers'  rose. 

Len,£;th,  3  feet  8  inches.     Width.  1  foot  5  inches.     Depth.  S  inches. 

Instruments  made  hv  Cristofel  Ruckers  are  exceedingly  rare,  only 
one  other  specimen  at  present  heing  known. 


—  40  — 


HAXI)-I',(  H  )K    Ol'"    K1■:^•BC.).\R1)    l.\"Sl"KL'.\lli.\TS 


rT.XTK     X 


No.  2344 


—  41  — 


THK    METROPOLITAN'    MUSEl'M    OF    ART 


No.   1 196 

Gallery  27 — Central   Case 

DOUBLE  SPINET,  or  \TRGIXAL.  Compass  of  the  larger,  four 
octaves  and  a  fourth — G  to  C ;  lowest  octave  short.  Compass  of  the 
smaller,  four  octaves — C  to  C.  Oblong  case,  the  interior  of  which  is 
decorated  with  gilding  and  painted  scroll-work.  The  inside  of  the  cover 
has  a  painting  in  excellent  condition,  representing  the  combat  between 
David  and  Goliath,  and  the  triumph  of  David,  who  is  received  with  music. 
The  large  front-board  bears  the  motto,  "  SCIEXCIA  XOX  HABIT 
IXLMICU?^!  XISI  IGXORANTEM."  while  the  front-board  of  the 
smaller  instrument,  inserted  in  the  case  to  the  right  of  the  keyboard, 
bears  the  motto.  "  ARS  L'SU  IV\'AXDA."  The  sound-boards  of  both 
instruments  are  painted  with  flowers  and  fruit,  each  with  a  rose  bearing 
the  initials  "  L.  G.,"  and  representing  Pan  blowing  an  organ  with  his 
mouth.  Ke}-s.  ivory  naturals  with  black  sharps,  the  latter  finely  inlaid. 
Quill  plectra.  Flanders.  1600.  Maker,  Ludovicus  Grovvelus.  The 
small  movable  spinet,  or  ottavina,  which  was  wanting,  is  a  reconstruction, 
modeled  after  the  larger  instrument  by  Mr.  Arnold  Dolmetsch.  of 
London. 

Length.  6  feet  3  inches.    Width,  i  foot  8  inches. 

The  Double  Spinet  is  exceedingly  rare,  there  being  but  two  other 
such  instruments  known  ;  one,  by  tlans  Ruckers.  the  elder,  is  owned  by 
Mr.  Morris  Steinert.  and  the  other,  by  Martin  \'ander  Beest,  dated  1380, 
is  at  Xuremberg. 


—  42  — 


HAND-BOOK    OF    KI-:VLU).\KI)    IXSTRUM I-IXTS 


r  L  A  T  E     XI 


No.  1196 


•43  — 


Till-:  Mi'iTKi  )j'()i,rrA.\   Airsiawi  of  art 


No.  1196 

Gallery   27 — Central   Case 

DOUBLE  SriXET,  or  A'IRGIXAL,  same  as  riate  XI.  Second 
view,  sliowini;-  the  iiiuvable  spinel,  or  ottavina,  partially  withdrawn  from 
the  case. 


■44- 


ilAXD-llooK    Ol"    Ki-:\'1!().\RI)    IXS'l'Rl'MlCXTS 


L  A   !■  !•:     X 


No.  1 1 96 


■45  — 


THE    METROPOLITAN    .MUSEUM    OI"    ART 


No.  1778 

Gallery   27 — Central    Case 

OCTA\E  SPIXET,  or  VIRGIXAL.  Compass,  three  octaves— F 
to  F,  the  lowest  G  sharp  and  F  sharp  omitted.  An  oblong  case  of  black 
wood,  the  interior  of  cover  ornamented  with  painting  on  paper,  repre- 
senting scenes  in  the  life  of  Daniel  and  Tobias.  In  the  centre  a  female 
head.  Kevs,  ivorv  naturals,  with  black  sharps.  Quill  plectra.  Italy. 
17th  Century.     ^Maker  unknown. 

Length,  1   foot  6  inches.     Width,  9  inches. 


—  46  — 


HAXD-nouK  UK  Ki-:vi;().\Ki)   i.\siRiMi':.\'rs 


I'l.ATI-;     Xlli 


No.  1778 


—  47 


TH1<:    -METROPOLITAX    .MLSKLM    Ul'"    ART 


No,   1227 

Gallery   27 — Central  Case 

OCTAVE  SPIXET.  Compass,  two  octaves  and  a  fourth — (i  to  C. 
The  instrument,  which  is  pentagonal,  is  enclosed  in  an  outer  case,  deco- 
rated with  foliated  scroll-work  and  a  coat  of  arms.  Keys,  ivory  naturals, 
with  black  sharps.  Quill  plectra.  Instrument  removable  from  the  outer 
case.     Italy.     17th  Century.     Maker  unknown. 

Length.  1  foot  53/  inches.    Width,  g^j  inches.     Depth.  4  inches. 

These  small  spinets  were  tuned  an  octave  above  the  ordinary  pitch, 
and  sometimes  included  in  a  larger  instrument.  See  Xo.  1196.  Plates 
XI.  XII. 


-48- 


HAXD-liOOK    Ul-    KEYBOARD    INSTRUMENTS 


PLATE     XI  \ 


No.  1227 


■49  — 


Tllli    AII'^rkDroLlTAX     AlL'SKLWl    (_)!•'    ART 


No.   1223 

Gallery  27 — Central   Case 

SPIXET.  L'onipass,  four  octaves  and  a  fiftli — ( I  in  I ) ;  lowest  octave 
short.  Wing-shaped  case  of  polished  walnut  on  a  three-legged  stand. 
Sound-board  w'nh  cut  rose.  Keys,  ebony  naturals,  with  white  sharps. 
Leather  plectra.     England.      1684.     Maker.  Charles  liaward. 

Length.  4  feet  fi  inches.    Depth,  7J/.  inches. 

Drexel  Collection. 


50- 


]1AXI)-1!()()K    Ol'-    KI-■.^  l;(  lAKI)    1  XSTIUM  l-XTS 


P  L  A  T  R     X  \- 


No.  1223 


—  5T  — 


Till':    .METROPOLITAN    ML"SEL"-\1    OF    ART 


No.  1223 

Gallery    2~ — Central   Case 

SPINET,  same  as  Plate  N\  .  Second  view,  with  frontboard  re- 
moved, showing  the  wrest-pins  placed  directly  above  the  keyboard,  a 
later  form  of  the  Spinetta  Traversa  adopted  by  Charles  Haward  and 
Thomas  Hitchcock  as  the  English  post-Restoration  model. 


IIAXD-BOUK    111-     ki;N  lit  iARI)    IXSIKL'M  liXTS 


L  A  T  E     X  y  I 


No.    1223 


53  — 


THE    All-.rF^LOI'UlJTAX    MTSia'-M    nV    ART 


No.    I2I2 

Gallery   27 — CeiUral  Case 

SPINET.  Compass,  five  octaves — (1  to  (i.  \\'ing--sliaped  case  of 
walnut  on  a  four-legged  stand.  Sound-board  without  a  rose.  Keys, 
ebony  naturals,  with  ivory  fronts  :  sharps  ivory,  with  ebony  inlaid  line. 
Quill  plectra.  The  number  of  the  instrument  is  1518.  England,  c. 
1700.     Maker,  Thomas   Hitchcock. 

Length,  6  feet  1  inch.    Depth,  8  inches. 

Drexel  Collectiun. 


■54- 


iiA.\i)-ii(  H  )K  ()!•■  Kl■;^■|•.(  lAki)   ixsruL'Mi'.x'rs 


\  r  I',    X  \'  1  I 


No.    1212 


—  5: 


rilE    METKur(.)LnA.\    MLSEL'.M    OF    ART 


No.    I2I2 

Gallery   27 — Central   Case 

SPIXET.  same  as  Plate  X\'II.  Second  view,  with  frontboard  re- 
moved, slinwing;  a  similar  arrang;ement  of  wrest-pins  to  that  of  Xo.  1223. 
Plate  X\-.- 


5^' 


HA.\D-ii(K)K  ()|-  i\i:vi;()AKi)   i.\srRrMi-:\'i"s 


P  L  A  T  K     X  \'  1  I 


No.    I2I2 


—  57 


i-iii';  .\ii'';i'R()i'()i.i-i'.\\   ML'siawi  ()i'  akt 


No.     1223 

Gallery  11 — Central   Case 

TTARPSICHORD.  Compass,  four  octaves — C  to  C;  lowest  octave 
short.  Long,  trapeze-shaped  instrument  of  cedar  wood,  enclosed  in  an 
outer  case  decorated  witii  large  scroll-work  device,  the  interior  of  the 
cover  painted  with  sacred  subjects.  The  sound-board  has  a  cut  rose. 
Keys,  light  wood  naturals,  with  black  sharps  (renewed).  There  are  two 
rows  of  jacks,  acting  upon  two  luiison  strings,  the  ends  of  the  sliders 
])assing  thrnugh  the  right-hantl  side  of  the  instrument.  Keyboard  front 
decorated  with  nuisical  subjects.     Italv.     c.     t6oo.     Maker  unknown. 

Length,  5  feet  "'X  inches,     ^^'idth,  2  feet  7  inches.  Depth,  to  inches. 

The  Harpsichord  is  known  in  Italy  as  the  "  Clavicembalo!'  and  in 
France  as  the  "Clavecin''  while  the  earlv  English  name  was 
Clavlccmhalo;'  or  "  Harpichorilinii." 

For  description  of  the  action  of  the  Harpsichord,  with  illustrations,  sec 
Appendix  I,  pages  292,  2Q3. 


-58- 


iA.\l)-i;(K)K    OI'    KEYBDARn    IXSTRTM  I-.XTS 


I'l.ATI'      XIX 


No.    1223 


—  59- 


THE    ^rnTRoroMTAX    AirSEl'.M    Ol'     ART 


No.    1222 

Gallerv    i~ — Central    Case 

1  I AkI'SK  IK  ;K1).    saiiK'    as    I'lalc    XIX.      Second    view,    showing 
ki-\l)(iaril  and  interior  decoration  of  case. 


—  60  — 


0 


IIAXU-BOUK    UF    K|-.NI',()\RD    IXSTKLWIEXTS 


P  L  A  T  K     X  X 


No.    1222 

—  6i  — 


TlJli    .MiiTRuJ'Ol.lTAX    .MfSlif.M    (  )1'     ART 


No.    1221 

Uallcry    27 — Central   Case 

1  lARl'SICHC  )RD.  Ciiinpass,  four  octaves  and  a  fourth — C  to  I'"; 
the  lowest  octave  formerly  sliort.  A  long,  trapeze-shaped  instrument  of 
cedar  wood,  decorated  w  ith  mouldings  of  the  same,  resting  on  a  three- 
legged  stand,  rile  exterinr  ])ainte(l  with  Cupids  and  wreaths  of  ilowers. 
On  each  side  of  tl.e  co\er  is  a  pastoral  scene  and  a  ilistant  landscape. 
The  sound-board  has  a  sunken  rose.  Keys,  ivory  naturals,  \\ith  black 
sharps  (modern).  Two  rows  of  jacks,  acting  on  two  strings  in  unison; 
the}-  were  worked  formerlv  b\-  small  buttons  within  tlic  case.  Quill 
plectra.  Inscribed:  "  1  Heronynuis  de  Zenti.s  \  iterbieusis.  b.  Romae. 
.\.nno  Dom.  MDCLAHI."  Italy.  ili.sS.  Maker,  jemme  de  Zeutis. 
This  instrument  has  been  much  restored. 

Length,  6  feet  (1  inches,     \^'idth,  2  feet  8  inches.     Depth.  10' j  inches. 

Purchased  by  the  Metropolitan  Museum  of  Art. 


—  62- 


IIAXD-IU  )()K    OI'    KF.>-I',().\R1)    IXSTRTMRXTS 


P  L  A  T  I'.     X  \  I 


No.    122! 


-r>v 


THE    METKOrOLlTAX    MLSEL'M    OF    ART 


No.     I22I 

Gallery  i~ — Central   Case 

HARPSICHORD,  same  as  Rlalo  XXI.     Second  view,  with   front- 
hoard  removed,  showine'  action  and  interior  tlecoration  of  case. 


.64 


HANU-UUUK    OF    KEYBOARD    INSTRUMENTS 
PLATE    XXII 


THE    MKTROl'O] A'WW    MUSKIWI    OF    ART 


No.    I220 

Gallery   25  —  Central   Case. 

HARPSICHORD.  Compass,  four  octaves  and  a  sixth — A  to  F. 
A  lonj;',  trapeze-shaped  instrument  of  cedar  wood,  enclosed  in  an  outer 
case,  resting  on  three  solid  legs,  elaljorate!}'  turned  and  gilded.  The  sides 
of  the  case  painted  with  conventional  ornaments  and  a  coat  of  arms  ;  tlie 
exterior  of  the  cover  ornamentetl  with  scroll-work,  the  interior  with 
representations  of  birds,  flowers  and  Cupids  with  musical  instruments 
on  a  gilt  ground.  The  sound-hoard  has  a  single  rose.  Keys,  boxwood 
naturals,  with  black  sharps.  There  are  two  rows  of  jacks,  acting  on  two 
tinison  strings,  their  ends  projecting  through  the  right-hand  side  of  the 
case.  Leather  plectra.  Inscription:  "  Hieronymus  Zenti  I-'ccit  Rom?e 
A.  S.  MDCLXX'I."  .\nd  "Joannes  Ferrini  Florentinus  Restauravit 
MDCCL\'."  Italy.  1666.  Maker,  Jerome  de  Zentis. 
Length,  7  feet  9/2  inches.     Width,  3  feet. 


66- 


JIAX1)-1'.()(  )K    ol'     Kh'.VP.OAKI)    IXSTRUMENTS 


1 '  L  A  r  E     X  X  11  1. 


No.    I220 


—  67 


Till-:  .MK'rRoi'fn.rr.w  ml-seum  of  art 


No.  1 220 

Gallery   25 — Central    Case 

HARPSICHORD,   same  as   Plate  XXHL     Second  view,   showing 
keyboard  and  interior  decoration  of  case. 


■68- 


IIAND-P,OOK    OI'-    Ki:VD().\Rf)    IXSTRUAIENTS 


I'  I.  \  T  [•:   X  X  I  \' 


No.     1220 


THE    AlK'JROroLITAX    .ML'SILL'.M    OF    ART 


No.  1 23 1 

Gallery   27 — Central   Case 

HARPSICHORD.  Four  octaves  and  a  fourth— A  to  E.  A  long, 
trapeze-shaped  instrument  on  a  three-legged  stand.  Ke\1)oartl  front 
inlaid  with  ebony  and  ivory,  and  with  small  ivory  plaques  engraved  with 
scenes  from  the  Passion  of  our  Lord.  The  jack-rail  similarly  inlaid.  At 
the  end  of  the  keyboard  are  gilt  mythological  figures  on  dragons.  The 
inside  of  the  cover  painted  with  nuisical  scenes  and  sleeping  Venus.  The 
sound-board  bears  three  sunken  roses.  Keys,  ebony  naturals  with  ivory 
fronts,  black  sharps  with  ivory  inlay.  Two  rows  of  jacks,  acting  on 
two  unison  strings  and  moved  within  the  case  by  small  buttons  at  the 
ends  of  the  sliders.  Also  a  row  of  liuft  dampers.  Quill  jilectra.  Italy. 
T/th  Century.     Maker  unknown. 

Length.  6  feet  Ci  inches.     Width.  2  fei  I    10' _|   inches. 


70- 


ITAXn-P.i  )r)K    OF    KRVr,()ARI)    IXSTRUMF.XTS 


rT.ATF.     XX\' 


No.  1231 


Till'     AIEIRUI'OLITAX    .MUSEUM    OF    ART 


No.  1231 

Galler\'    27 — Central   Case 

IIART'SICHORD,    same   as    Plate   XX\'.     Second   view,    showinq- 
<(.\hiiar(l  and  inlaid  frnntboard. 


/^- 


H.\Xl)-i;()()K    ()!■     KI'.MloARl)    I  XSTKL'M  ICXTS 


n.ATE    xx^■T 


No.  1 231 


—  7.V 


Till'    Mi'TRi )!'(  n.rr w"   .\irsi-:[".\i   oi-   art 


No.   1231 

Gallery   27 — Central  Case 

TTARPSICHORD,  same  as  Tlate  XXA'.     Tliir.l  view,  witli   front- 
hiiard  removcil.  sliowino'  acticni. 


—  74  — 


HAXD-IU  H  )K    ol-     l^l■;^•l;u.\l^;l)    IXS'l'RL'MEX'l'S 


p  r.  A  r  !■:    x  x  \'  i 


No.    1231 


—  75  — 


THE    .METROIXJLITAX    ML'Sia'.M    OF    ART 


No.  1226 

Gallery   27 — Central   Case 

HARPSICHORD.  A  small  trapeze-shaped  instrument  of  cedar 
wood.  The  outer  case  painted  gray  and  decorated  with  tioral  designs, 
rests  on  eight  bowed  legs.  The  soundboard  has  a  sunken  rose.  The 
ke_\s,  boxwood  naturals  inlaid  with  black  lines,  the  sharps  dark  wood 
studded  with  ivory.  Two  rows  of  jacks  acting  on  two  strings  in  unison ; 
quill  plectra.  The  frontboard  inlaid  with  a  coat  of  arms,  the  name  of  the 
maker  and  the  date,  as  follows:  "Jo.  Paulus'Leoni  Civ.  R.H.  F.  .\n.  D. 
MDCCLXXni.    Italv." 

Length,  5  feet  8  inches.     \\'idth.  2  feet.     Height,  3  feet  i  inch. 


76- 


HA\1)-I'.()(  )k    Ml     KKVBOARI)    l.\Sll<LMi:XTS 


i'  L  A  T  K     X  X  \ 


No.   1226 


// 


rill-;   Mi'.i'Rt  )r()iJTAX   .MLSi:rM   ui-   art 


No.  1678 

Gallery   27 — Central   Case 

HARPSICHORD.  Compass,  five  octaves — F  to  F:  lowest  F  sharp 
omitted.  A  long,  trapeze-shaped  instrument  in  polished  walnut,  with 
inlav  of  white  wood  and  large  brass  mountings.  Keys,  ivory  naturals, 
with  black  sharps.  Three  rows  of  jacks,  acting  on  two  unison  and  one 
octave  set  of  strings,  also  a  row  of  butt  dampers.  The  sliders  moved  by 
long  levers.  The  stop-knobs  project  immediately  above  the  keyboard, 
two  on  each  side.     The  vibrating  length  of  the  longest  unison  wire  is 

5  feet  4  inches,  and  of  the  shortest  5  inches.  The  viljrating  length  of 
the  octa\e  wires  is  half  of  the  above  lengths.  Quill  plectra.  On  the 
left-hand  side  a  lever,  worked  by  a  foot  pedal,  moves  two  sliders.  This 
action,  which  was  in  general  use  in  the  late  i8th  Century  English  harp- 
sichords, is  called  the  "  Machine."     England.      1781.      Makers.  Jacolnis 

6  Aliraliam  Kirkman. 

Length.  7  feet  3  inches.     \\'idth.  3  feet.     Depth,  i   foot. 


78- 


II.WD-liOOK    Oi"    KI•■.^■|1().\KI)    IXSTRLWJEXTS 


PLAT  !•:     X  X  1  X 


No.  1678 


7'»  — 


THE    METROl'OLITAX    Ml'SEL"M    Ol'    ART 


No.  1678 

Gallery   27 — Central  Case 

HARl'SICHORD.  same-  as  Plate  XXLX.     Side  view. 


—  8o- 


HAXD-UOOK    Ul'    KEYUtJARD    INSTRUMENTS 


r  LATE     XXX 


No.   1 078 


,9t  — 


Till-:    MI'ITROI'UI.ITAX    ML'SEl'M    OF    ART 


No.  2929 

Gallery    29 — Central   Case 

HARPSICHORD.  Compass,  five  octaves,  !•  to  F;  lowest  F  sharp 
missing.  A  long  trapeze-shaped  instrument,  the  case  profusely  decorated 
with  gesso  ornament  illustrating  Xeptunc  in  his  chariot  surrounded  by 
attendants.  A  platform  resting  on  ten  claw  feet  supports  an  elaborate 
group  of  allegorical  figures  composed  of  sea  nymphs  and  satyrs,  two  of 
the  latter  carrying  the  instrument  upon  their  up-stretched  arms.  At  one 
end  of  this  group  two  dolphins  bear  a  shell  in  which  is  seated  the  figure 
of  a  child,  while  the  opposite  or  keyboard  end,  is  finished  with  a  large 
sculptured  group  consisting  of  two  figures  resting  upon  a  rock,  a  satyr 
playing  upon  a  bagpipe,  a  sea  nymph  at  his  side.  The  entire  surface  in 
gilt.  The  soundboard  has  a  sunken  rose.  The  keys,  ivory  naturals  with 
black  sharps.    Italy.     1 8th  Century  (  ?}.    ^Maker  unknown. 

Length,  8  feet  y  inches.    A\'idth,  2  feet  9  inches. 


—  82  — 


X 

•A 

w 

(1- 


6 
Z 


THE    METROPOLITAX    AirSKl'M    OF    ART 


No.   1218 

Gallery   27 — Central  Case 

HARPSICHORD.  Double-banked.  Compass  of  each  of  the  two 
keyboards  four  octaves  and  a  sixth — G  to  E.  A  long,  trapeze-shaped 
case,  resting  on  seven  bowed  legs,  decorated  with  gesso  work.  The  out- 
side of  the  case  decorated  with  characteristic  \'ernis-Martin  paintings  of 
musical  subjects  and  flowers  on  a  gilt  ground.  The  interior  of  the  cover 
painted  with  floral  decorations  on  a  similar  ground.  The  lid  is  supported 
by  a  gilt  rod,  representing  a  sheaf  of  arrows.  The  sound-board,  which 
has  a  small  rose  with  the  name  of  the  maker,  is  decorated  with  paintings 
of  flowers  and  birds.  Keys,  ebony  naturals,  with  ivory  sharps.  Three 
rows  of  jacks,  acting  on  tw^o  unison  and  one  octave  set  of  strings.  The 
■  upper  keyboard  acts  on  one  string  only,  the  lower  keyboard  on  all  three, 
if  required.  The  sliders  moved  by  short  levers  inside  the  case.  Quill 
plectra.  France,  i8th  Century.  Maker.  Louis  Bellot. 
Length,  8  feet  2  inches.    Width,  3  feet  2  inches. 


-84- 


11  WD-liOOK   OF    KEYBOARD    IXSTRUMI'-XTS 
P  i:  A  T  F.    X  X  X  1 1 


No.  I2i8 


85- 


THE    Ml-  rk(  >1'()1J'J-.\X     MrSKr.M    Ml-     AkT 


No.  1218 

Gallery    2~  —  Central   Case 

HARrSICHORD,    doul.k-   l.anked.   same   as    Tlate    XXXII.      Side 
view    showinaf  case  decorations. 


86- 


II.WD-I'.i  H  )1\    i)l-    KI-:N  IK  ) AkI)    IXSTRIMI-IXTS 


ri^ATl'.     XXXJll 


No.   121H 


-S7- 


TUF.    MF.TR()I'()LI'I"AX    MrSEl'M    (  )F    AF-iT 


No.  2363 

Gallery  25 — Central   Case 

HARPSICHORD.  Double-banked.  Compass  of  both  keyboards, 
four  octaves  and  a  fifth — F  to  C.  A  long  trapeze-shaped  case 
supported  on  a  wooden  stand  with  seven  legs,  finely  decorated  with 
carving  and  gilt  gesso  work.  The  outside  of  the  case  painted  with 
flowers  and  conventional  ornament  on  a  gilt  ground.  The  interior  of 
the  case  ornamented  with  black  scroll  tracery  on  a  gilt  ground.  The 
sound-board,  with  a  single  rose,  is  somewhat  similar  to  that  adopted  by 
Ruckers.  The  keys,  naturals  of  rounded  ivory,  with  gilded  fronts ;  sharps 
black.  Four  rows  of  jacks,  acting  on  three  strings,  two  unison,  one 
octave,  the  fourth  row  acting  on  the  first  string.  A  lute  stop.  The  jack 
of  this  stop,  by  plucking  the  string  close  to  the  bridge,  gives  the 
reedy  tone,  which  was  much  employed  by  performers  on  the  lute.  The 
vibrating  length  of  the  longest  unison  wire  is  "5  feet  6^  inches.  The 
vibrating  length  of  the  shortest  unison  wire  6'4  inches.  The  octave  wires 
are  half  the  above  length.  The  upper  keyboard  acts  on  the  first  string 
and  with  the  lute  stop ;  the  lower  keyboard  on  the  first,  second,  and  third 
strings  without  the  kite  stop.  The  sliders  are  worked  by  small  brass 
knobs,  which  project  through  the  right-hand  side  of  the  case.  Quill 
plectra.    Flanders,    c.     i'')50.    IMaker.  Joannes  Couchet. 

Length,  7  feet  6  inches.    Width,  2  feet  10  inches.    Depth.  10'  j  inches. 

Jean  Couchet  was  a  nephew  of  Jean  Ruckers.  See  Hipkins'  "  History 
of  the  Pianoforte,"  pp.  82-84. 


■88- 


IIAXD-B()OK    Ol"    KEYBOARD    IXSTKLM  i:XTS 
PLATE     X  X  X  I  \ 


No.  2363 

-89- 


Till'.    MI-.TROI-'nl.rr.W     MTSI'l'M    OF    ART 


No.  2363 

Gallery    25 — Central   Case 


HARPSICHORD,   (kml.le  hanked,   same   as    Plate   XXXIX'.      Side 
view,  showino;  case  decoration  and  ornamental  stand. 


—  yo- 


iiANT)  i',(  i(  )K  ( )i"  Kl•:^■l'.(  t  Aki)   i\s  rui'Mi-:\rs 


PLATE     X X X \ 


No.   2363 


■  fji 


Tin:    .Ml'".  TRi  H'MLITAX    .ML-SMTM    ol'     \]iT 

No.   2359 

Gallery   -5 — Central   Case 

HARPSICHUKU.  Tripk-banked.  Compass  of  each  keyboard 
rive  octaves — F  to  F.  A  trapeze-shaped  case,  wholly  gilt,  supported 
on  a  five-legged  stand,  decorated  with  elaborate  carvings  and  pierced 
scroll-work  in  Louis  XV  style.  The  exterior  of  the  case  painted  with 
conventional  ornaments  and  medallions  representing  Cupids  and  flowers. 
The  outside  of  the  cover  bears  a  coat  of  arms,  three  crescents  (or), 
grouped  on  a  shield  (azure),  the  arms  of  the  Strozzi  family.  The  in- 
terior has  a  medallion  representing  a  love  scene.  The  upper  front- 
board  has  the  following  inscription  engraved  on  an  ivory  plaque :  "  Vin- 
centius  Sodi  Florentinus  Fecit — Anno  Domini  1779,"  with  two  coats  of 
arms  of  the  Strozzi  family  and  that  of  the  city  of  Florence.  Keys,  ivory 
naturals  with  ivory  fronts ;  sharps,  dark  l)rown  wood  with  two  ivory 
lines.  Each  keyboard  projects  slightly  over  the  one  below,  there  being 
no  front-boards  between  them.  The  sound-board  has  no  rose.  Three 
rows  of  jacks,  with  three  sets  of  strings  (two  unison  and  one  octave). 
The  vibrating  length  of  the  longest  unison  string  is  5  feet  2J/2  inches; 
that  of  the  shortest  6)^  inches.  The  octave  strings  are  half  this  length. 
The  upper  keyboard  acts  on  the  octave  strings ;  the  middle  keyboard  on 
one  unison  and  the  octave ;  the  lower  keyboard  on  the  two  unison  strings. 
No  stops  or  means  of  shifting  the  sliders.  Leather  plectra.  Italy.  1779. 
Maker,  Vincentius  Sodi. 

Length,  7  feet.    Width,  3  feet  5  inches.    Depth,  9.;4  inches. 

This  specimen  of  a  triple-banked  harpsichord  was  apparently  made 
to  obviate  the  use  of  stops,  and  is  probably  imique. 

Professor  Frederico  \'ellani.  Secretary  of  the  Museo  del  Liceo 
]\Iusicale,  Bologna,  says :  "  The  instrument,  on  account  of  its  age  and  to 
avoid  farther  damage  from  the  destructive  work  of  time,  was  subjected 
to  some  indispensable  but  slight  repairs :  and  these  repairs  were  all 
executed  according  to  the  best  rules  of  art." 

Mr.  Alexander  Krans,  of  Florence,  writes  as  follows :  "  The  Harpsi- 
chord is  a  magnificent  piece  of  workmanship  and  well  adapted  to  a  Mu- 
seum. I  have  no  hesitation  in  declaring  it  the  work  of  \''incentius  Sodi, 
for  I  compared  it  with  one  by  the  same  maker  which  is  now  in  my 
possession  and  forms  a  part  of  my  Collection,  It  is  restored  and  reduced 
to  its  present  form  so  that  it  can  he  played." 


■92- 


11. WD  ]',()(  )K    ol-     KI'VP.OARIl    IXSTRl'MI-:XTS 
J' LA  T  !•:     X  X  X  \-  I 


No.  3359 


—  93- 


TtlK    .MKTKUl'ULITAX    ML'SEL.M    Ul"    AKT 


No.  2359 

Gallery   25 — Central   Case 

HARI'SICHORD.  triple  banked,  same  as  Plate  XXXVI.     Second 
view,  showino;  interior  decoration. 


—  94  — 


lIAXD-r,(  H  )K    UI"    KI'.N  r.i  )AR1)    I  XS  Tkl'M  h'.X'l'S 


P  L  A  T  ]  ■.     X  X  X  V  1  1 


No.  2359 


■  95 


Tl-IE    All-nUui'OUTA.N    MUSEUAl    UF   ART 


No.  2359 

Gallery   25 — -Central   Case 

HARPSICHORD,  triple  banked,   same  as   Plate  XXX\  1.      Third 
view,  showing  case  decorations  and  carved  stand. 


—  q6- 


HAXD-I!OOK    OF    KEYlJoARI)    IXSTKL-.MKXTS 


PLATE     XXX  \- I  I 


No.  3359 


—  y/ 


TIIL':    AII-;iR(  i|'(  )1.|  TAX     AlL'Sja'.M    ol'     AR 


No.  1225 

Gallery    27  —  Central   Case 

CLAVICYTHERIUM  or  CLAA'ICEM  HALO  VERTICALE.  Up- 
right harpsichord.  Compass,  four  octaves  and  a  fourth — C  to  F :  lowest 
octave  short.  A  \ertical,  trapeze-shaped  body,  supported  on  a  square 
stand.  Sound-board  decorated  with  three  roses.  Kevs,  Ixixwood  nat- 
urals, with  black  sharps,  two  strings  to  each  note.  Leatlier  ])Iectra.  Italy. 
c.     1600.     INIaker  unknown. 

Height,  4  feet  1  i   inches.     A\'idth,  2  feet  10  inches. 

Similar  instruments  are  described  by  l'ra;torius  and  Mersenne. 

For  description  of  the  action  of  the  Clavicytherium  or  Clavicembalo 
A'erticale,  with  illustration,  see  Appendix  I,  pages  292,  293. 


■9S- 


AXI)  HOOK    or    KL^YBOARU    IXSIIUM  I'.XTS 


I'l.ATF.     XXXTX 


No.  1225 


-99  — 


Till-;    MI'lTKi  il'(  )I.l  TAX     Ml'SEf.M    Ol-'    ART 


No.  1225 

Gallery  27  —  Central   Case 

CLAVICYTHERIU-M.  or  CLAMCE.MBALC )  \'ERTICALE.  same 
as   Plate   XXXIX.     Second   view,   with    frontboard   removed,   showing 

action. 


—  TOO- 


Il.WI)  nooK    OF    KEYBOARD    1  XSTRUiMEXTS 
I'LATI-:     XL 


No.  1225 


lOI 


THK    .MKTROruLlTAX    MLSHIM    OF    ART 


No.  1224 

Gallery   27 — Central   Case 

CLAMCYTHERIIAI  or  CLAMCEMBALi  )  \ERTICALE.  Up- 
right harpsichord.  Comjiass.  four  octaves — C  to  C  :  lowest  octave  short. 
An  oblonsj  case,  su])porte(l  on  a  four-legged  stand,  the  folding  doors  and 
keyboard  painted  with  sacred  and  musical  subjects,  the  cover  bearing  a 
coat  of  arms.  The  sound-board,  decorated  with  a  single  rose,  assumes 
the  usual  trapeze  shape,  the  remaining  sjiace  bein.g  decorated  witli  a 
painting  of  David  playing  on  the  harp.  Keys,  ebony  naturals,  with  black 
shar]js.  inlaid  with  an  ivorv  line.  Leather  plectra.  Two  unison  strings 
plucked  bv  two  rows  of  jacks,  the  sliders  immovable.  The  corners  of 
the  cover  have  crumbled  away  from  age.  Italy.  Ivarly  17th  Century. 
j\ Faker  unknown. 

Ileigiit.  7  feet  5  inches.     Width.  2  feet  4  inches. 

.\  similar  instrument  exists  in  the  Snoeck  L'oUection  at  (Ihent,  under 
the  title  "  Clavecin  Buffet." 


\02 


IIA.\l)-i;(  )(  )K    Ol-     KI'IVBOAkl.)    IXS'l'RL'Ml'.XTS 

1'  I.  A  r  1-:    \  !.  1 


TlIK    MI-.IUi  »l'i  tl.ri'AX    Ml'SiaWI    Ol-     ART 


No.  1224 

Gallery    27 — Central   Case 

CLA\ICYTHERIL\M,  or  CLAMCEM  I'.AU  )  ^■ERTICALE.  same 
as  I 'late  XLl.     Second  view,  showing;  interior  decoration  of  case. 


—  104  — 


1JA.\I)-I!(  loK    ()!•     KF.VP.OAKI")    1  XSTRTM  I'ATS 
IT.  ATE     XLTI 


No.  1224 


10:;  — 


THK  .Mi;rR(  )i'(  )i.i'i".\\   Mi;si-:r.M  oi-  art 


No.  2430 
Gallery   26 — Central   Case 

CLAXiHARl'.  Compass,  seven  octaves — A  to  A.  Harp-shaped 
case  in  bircFs-eye  maple,  with  gilt  carving,  standing  on  two  cross-legs, 
with  gih  scroll-work.  The  sonnil-board  with  a  gilt  decoration  and  a 
painting  representing  a  female  figure  surrounded  hy  Cupids.  Keys, 
ivory  naturals,  with  Ijlack  sharps.  Strings  of  wire :  two  lower  octaves 
overspun.  Two  pedals,  one  lifting  the  dampers  from  the  strings  in  the  two 
lower  octaves,  the  other  opening  a  swell  shutter  similar  to  that  in  the 
harp.     Italy.     Late  lyth  Century.     Maker  unknown. 

Height.  5  feet  8  inches.  Width.  4  feet  4  inches.  Depth,  I  fmit  6 
inches. 

The  Claviharp  was  invented  ]iy  Christian  Dictz,  of  Paris,  in  1815.  I'y 
an  ingenious  mechanism  the  string  is  plucked  when  the  key  is  depressed, 
giving  a  harp-like  efYect  to  the  instrument.  The  striking  is  done  by  finger- 
like  hooks,  which  pluck  the  strings  in  passing,  and  which  are  immediately 
brought  back  in  their  original  position  bv  little  leaden  weights.  The  in- 
strument has  also  a  self-acting  muffling  apparatus,  which  can  be  shut  ofif 
by  a  pedal  register,  and  two  other  pedal  registers,  one  controlling  a  list 
or  strip  of  cloth,  the  other  pressing  upon  the  deepest  clmrds  of  a  paper 
roll,  thus  together  producing  a  rattling  sound  (bassoon  register).  The 
])resent  specimen  has  received  tiiodcrn  improvement,  the  plectra  of  two 
lower  octaves  l-.aving  been  replaced  by  hammers  similar  to  those  on  the 
piano. 


—  1 06 


\\i)-r,()()K  oi"  Ki'.viioAki)   i.vs'i'Ki'.\ii-:\'rs 


i:.\Ti':    X  Li  I  I 


No.  2430 


107 


II 

Keyboard  Stringed  Instruments,  Struck, 
Clavichords,  Pianos,  etc. 

Corresponding  to  Class  1,   Division  II,   Section  B 
OF  Handbook  No.    13 


— 109  - 


MF.TKol'ol.lT.W     MrSl-.LM    DF    ART 


No.  1440 

Gallery   z; — Central   Case 

DULCIMER.  22  doiililc  strings,  giving  a  diatonic  scale  of  three 
octaves — F  to  ¥.  A  black  oblong  case,  standing  on  4  legs,  ornamented 
witli  decorative  beading.  Sound-board  bearing  a  central  bridge  and 
having  2  pierced  sound-holes.  L'.  S.  A.  Early  Kjth  Century.  Maker 
unknown. 

Length.  3  feet  5  inches.     \\'i(hh.  18  inches.     Depth.  6'/>  inches. 

The  Dulcimer  is  placed  at  the  head  of  this  section  as  being  the  pre- 
decessor of  the  keyboards  with  struck  strings. 


110  — 


HAXD-iiooK  ()!•■  K]■:^■|;(J.\l<l)   i.\strl:milXts 


J' LATE     XL1\- 


No.  1440 


—  Ill 


THE    IMETROrOLITAX    Ml'SKl'M    ( )!•    ART 


No.  2543 

Gallery  28 — Central  Case 

CLA\'ICH(  )RD.  Compass,  3O  notes.  Oblong  case,  covered  with 
stampetl  leather,  with  conventional  designs  in  brown  on  a  gokl  groimd ; 
gilt  mouldings  around  the  edges.  The  inner  cover  bears  a  coat  of  arms 
on  stamped  leather.  The  keyboard  projects.  Keys,  ebony  naturals, 
with  ivory  sharps.     Ital\-.     1537.     ]\laker,  .\lex.  Trasontinus. 

Length,  2  feet  5  inches.    Width,  i  foot  1^/4  inches.    Depth,  5 '4  inches. 

At  present,  this  instrument  has  one  string  to  each  tangent,  small 
movable  bridges  being  placed  tmder  the  strings  somewhat  after  the 
manner  of  the  early  Italian  clavichords.  Examination  of  the  in- 
strument shows  that  it  has  been  much  altered  from  its  original  con- 
struction. The  keys,  which  apparently  have  been  renewed,  are  arranged 
in  a  peculiar  way,  extra  sharps  being  inserted  between  B  natural  and  C 
in  the  lowest  octave,  and  between  E  and  F  in  the  upper  octave,  with  no 
provision  for  an  F  sharp  between  F  and  G  immediately  above.  The 
following  inscription  and  motto  on  ivory  are  found  within  the  edge  of 
the  case :  "  Alex.  Trasontini  ut  osa  flos  florum  ita  hoe  clavle  claviluim 
hoc  opus,  1537."  The  motto  should  read  as  follows:  "  Ut  rosa  flos 
florum  ita  hoc  clavile  clavilium." 

For  description  of  the  action  of  the  Clavichor<l,  with  illustration,  see 
Plate  XL\TII,  page  119:  also  Appendix  I,  pages  2CJ4,  295. 


—  it; 


IIAXD-r.ooK    Ol'-    KEYBOARD    1  XSTKl'M  IC.XTS 


I^  L  A  T  E     XL  V 


No.  2543 


—  113- 


THE    METROPOLITAN'    .MLSI'-UM    Ol"    ART 


No.  1216 

Gallery   25 — Central   Case 

CLAVICHORD.     Compass.   28   notes.     An   oblong-  outer   case   of 

gilded  wood  decorated  with  foliage,  the  inside  of  the  cover  decorated 
with  paintings  of  flowers,  enclosing  the  instrument,  which  is  of  black 
wood.  The  sound-board  has  two  sunken  roses,  and  the  front-board  (  Fig. 
I )  which  is  inlaid  with  ivory,  bears  the  arms  of  the  Medici  family.  The 
projecting  keyboard  (Fig.  2)  has  ivory  naturals  and  black  sharps.  This 
instrument  has  one  string  to  each  tangent  and  also  an  additional  sharp  be- 
tween P>  and  C  in  the  highest  octave.  It  is  impossible  to  say  whether 
this  was  the  original  arrangement  of  the  keys.  Italy,  c.  1600.  Maker 
unknown. 

Length,  2  feet  8  inches.    \Mdth,  i  foot  9  inches.    Depth.  5  inches. 

The  mechanism  of  the  tangent  striking  the  string-  and  so  producing 
a  nuisical  note  was  probalily  derived  from  the  early  monochords  with 
their  movable  bridges. 


—  1 14 


11  WI)-l!()()K    ()]■    KiiVDUARI)    1  XSTkUMENTS 


V  T.  A  T  E     X  L  \'  I 


No.  1216 


—  115  — 


THE    METROPOLITAN    AIUSEUM    OF    ART 


No.  1215 

Gallery  28 — Central  Case 

CLA\TCHORU.  Two  views:  figure  i,  frontboard  removed;  figure  2, 
frontlioard  in  place.  Compass,  four  octaves :  the  lowest  octave  short. 
Oblong  wooden  case,  covered  with  colored  paper.  Keyboard  recessed. 
Keys,  light  w^ood  naturals,  with  black  sharps  (renewed).  This  instru- 
ment is  gchitinlcii,  or  fretted ;  that  is,  2  tangents  and  sometimes  3  tangents 
strike  on  the  same  string.  2  strings  to  each  note.  The  lower  6  notes 
hundfrei.  or  iinf retted:  that  is,  with  a  pair  of  strings  to  each  tangent. 
Germany.     17th  Century.     Maker  unknown. 

Length,  3  feet  2  inches,    ^^'i(lth,  iij4  inches.    Depth,  3  inches. 


—  T16  — 


HAND-I'.OOK    ol'     KEYBOARD    IXSTRUMEXTS 


LATE     XL\'IT 


No.  1215 


tt: 


THE    .METROrOLITAX    AIL'SEUM    OF    ART 


No.  1215 

Gallery   28 — Central  Case 

CLAA'ICHORD,  same  as  Plate  XLMI.  Enlarged  view  showing 
action.  In  this  instrument  45  notes  are  obtained  from  22  pairs  of  unison 
strings ;  the  six  lower  notes  e,  f,  f  sharp,  g,  g  sharp,  a,  bnndfrcl  or  un- 
fretted, — a  pair  of  strings  to  each  tangent :  the  remainder,  gcbimdcn  or 
fretted, — two  or  three  tangents  striking  the  same  pair  of  strings. 


1 

2 

3 

4 

5 

6 

I 

.s 

9 

10 

11 

12 

in 

14 

15 

16 

17 

18 

19 

20 

21 

22 

E 

F 

Ft 

G 

G* 

A 

Bb 

0 

d 

(W 

f 

g 

a 

ci 

di 

fi 

gS: 

bS' 

A'- 

fs 

gs. 

bflj 

BB 

c« 

e 

fS 

g« 

bb 
lit! 

cl. 

el 

g^ 

ai 
bb, 

dS, 
e2 

g= 

a= 
bb. 

c» 

For  further  description  of  the  Clavichord  action  see  ApiJeiidix  I,  Plate 
CXXX,  page  295. 


ttR  — 


w 

-< 


I? 


o 
Z 


THE    METROPOI.TTAX    MUSEUM    DF    ART 


No.  1207 

Gallery   28 — Central    Case 

CLAVICHORD.  Compass  five  octaves — F  to  F.  Oblong  case  on 
a  carved  wooden  stand  with  four  bowed  legs.  The  outer  case  painted  in 
imitation  of  tortoise-shell ;  the  inside  of  the  cover  black,  with  painted 
panels.  Keyboard  recessed.  Keys,  ebony  naturals,  with  Ivory  sharps. 
This  instrument  is  hunJfrci,  or  inifrcltcd.  Germany.  1765.  Maker, 
John  Christojiher  Jesse,  Organist  at  St.  Martin's  Church,  Halberstadt. 

Length,  5  feet.    Width,  2  feet.    Depth,  J^A  inches. 

For  an  instrument  of  this  kind  Bach  wrote  his  celebrated  Preludes 
and  I'ugucs.  demonstrating  the  practicability  and  value  of  equal 
temperament  in  tuning. 


120  — 


WD-IIOOK    OF    KEYBOAKI)    INSTRUMENTS 


P  L  A  T  l'.     X  L  I  X 


No.  1207 


— 121 


THE    AFETROror.ITAX    .M  I'SI'.rM    OF    ART 

No.    1219 

Gallery   29 — Central   Case 

PIAXO.  Compass,  four  octaves  and  a  fourth — C  to  F.  Trapeze- 
shaped  case  of  cedar,  standing  on  three  legs.  Outside  of  case  painted 
black.  Keys,  light  wood  naturals,  with  black  sharps.  Two  ivory  knobs 
on  the  side  blocks,  enabling  the  action  to  be  withdrawn  from  the  instru- 
ment. Two  strings  to  each  note.  The  vibrating  length  of  the  longest 
string  is  6  feet  2  inches ;  the  shortest  43/2  inches.  Sound-board  without 
a  rose.  Italy.  1720.  Maker,  liartholomjeus  de  Christophoris.  Above 
the  front-l)oard  on  the  block  which  carries  the  action  are  the  following 
inscriptions :  "  Bartholomieus  de  Christophoris  Patavinus  Inventor 
Facierat  Florentise,  MDCCXX,"  impressed  in  Roman  characters,  and  on 
one  side,  in  running  hand,  "  Restaurato  I'Anno  1875,  da  Cesare 
Ponsicchi  Fircnze." 

Length,  7  feet  7V2  inches,    ^^'idth,  3  feet  3  inches.    Depth,  gy^  inches. 

This  specimen  possesses  an  unusual  interest,  as  being  the  earlier  of 
the  two  existing  pianos  known  to  have  been  made  by  Cristofori,  the  in- 
ventor of  the  pianoforte.  The  other,  dated  1726,  is  in  the  possession  of 
RIons.  Alexandre  Kraus,  of  Florence,  Italy. 

liartolommeo  di  Francesco  Cristofori  was  born  in  Padua  in  1653.  and 
died  in  1731.  The  house  where  he  lived  is  not  known.  His  workshop 
was  in  the  Officina  (offices)  of  the  Count  of  Tuscany,  where  he  was  under 
the  auspices  of  the  Prince  of  Tuscany.  A  monument  erected  after  the 
Cristofori  Festa  is  in  the  Cloister  of  Santa  Croce,  on  the  right  of  the 
entrance  coming  from  the  piazza,  and  at  the  end  of  the  Loggia.  No  por- 
trait of  Cristofori  is  known  to  exist. 

From  Air.  Hipkins'  introductory  article  on  Keyboard  Instruments 
(page  1 1  )  we  quote  the  following:  "  Cristofori's  invention  was  pul)lished 
in  171 1,  and  this  pianoforte,  dated  1720,  represents  it  in  its  perfected 
form.  The  action  has  the  '  escapement  "  without  which  there  can  be  no 
vibrating  note  :  the  '  check,'  an  all-important  step  toward  repeating  notes  ; 
the  shake,  etc.  Cristofori's  action  was  exactly  copied  by  Silbermann,  as 
well  as  the  structure  of  the  instrument,  in  the  three  pianos  he  supplied 
to  Frederick  the  Great,  which  are  still  preserved  at  Potsdam.  The  bio- 
graphical notice  of  Cristofori  in  Grove's  '  Dictionary  of  Music  and 
Musicians,'  gives  all  the  known  antecedent  particulars  of  this  historical 
Piano  e  Forte  and  its  inventor  and  maker." 

For  description  of  the  Cristofori  action,  with  illustration,  see  Ap- 
pendix I,  pages  296,  297.  Documents  bearing  on  the  history  of  the  in- 
strument are  printed  in  Appendix  IT,  page  305. 


122  — 


IIAXI)  r.i  )(  )K    o].-    Kl'.^lW  ).\R|)    l.\STI<r.Ml-:.\TS 


1.  A  T  [■:    L 


No.  1219 


'  -'3 


"in:    .\II':TR(  )!'(  )LI  TAX     MTSia   M    ()!■     ART 


No.  1219 

Gallery   29 — Central  Case 

PIAX(  ),  same  as  Plate  L.     Front  view,  showing;  kevlxjard. 


—  124- 


HAND-BOOK   OF    Ki:VI!().\RI)    IXSTRU^fExMTS 


PLATE    LI 


No.  1219 


—  1^5 


TIIK    MMIkorol.l  TAX    .M  L'Sl-.TM    OV    AR'l" 


No.   2965 

Gallery    29 — Central   Case 

PIANO.  Compass,  five  octaves  less  one  note,  G  to  F.  Oblong 
mahogan}-  case  resting  on  a  stand  with  four  square  legs.  Keys  ivory 
naturals  with  white  sharps.  Two  stops  inside  of  the  case  on  the  left 
hand  side  regulate  the  dampers,  one  raising  the  upper  half,  the  other  the 
lower.  The  instrument  is  inscribed  as  follows :  "  Johannes  Zumpe, 
Londini,  Fecit  1767,  Princess  Street,  Hanover  Square  "  and  has  XVIIII 
stamped  on  the  back  of  the  nameboard.    England,  18th  Century. 

Length,  4  feet  2  inches.     Width,  1  foot  6}4  inches. 

Johannes  Zumpe,  a  German  m  the  employ  of  Shudi.  the  har]isichord 
maker,  was  the  first  to  construct  stjiiare  pianos.  He  brought  out  his  in- 
vention in  London,  aided  by  his  friend  Rev.  William  Mason,  composer 
and  poet  and  friend  of  the  poet  Gray.  Fetis,  the  great  musical  historian 
wrote  in  185 1  that  his  first  lessons  on  the  piano  were  on  one  of  Zumpe's 
make  dated  1762,  which  is  the  earliest  date  of  which  there  is  anj'  record. 
The  oldest  Zumpe  piano  known  is  dated  1766  and  is  owned  by  Messrs. 
Broadwood. 

In  regard  to  the  alrave  instrument  Grove  says  (Dictionary,  Vol.  11, 
p.  714)  :  "  Allowing  Zumpe  to  liave  been  a  year  or  two  in  liusiness  before 
he  made  this  number,  he  would  not  have  started  before  1765."' 

The  Germans  claim  the  adaptation  of  the  clavichord  case  for  the  piano 
for  Friederici  of  Gera :  they  date  it  1760.  Nothing  is  known  of  the 
action  of  such  instrument. 

For  description  of  the  Zumpe  action,  with  illustration,  see  Appendix 
I,  pages  298,  299. 


—  1 26 


TIAXD-OOOK    OF    Kl'lVnOAKI)    I XSTRUMENTS 


PL  A  11'.     Lli 


No.  2965 


TTIE    MRTROPOI.ITAX    MUSEUM    OF    ART 


No.  2910 

Gallery   2o — Central   Case 

PIANO.  Compass,  four  octaves  and  a  fourth,  C  to  F.  Pentagonal 
case  of  painted  wood  resting  on  four  turned  legs.  Keys,  black  naturals 
with  white  sharps.  Small  wooden  hammers.  Two  stops  over  the  tcey- 
board  regulate  the  dampers.  Uermany.  i8th  Century.  Maker  un- 
known. 

Length,  3  feet  6'_>  inches,  ^\'idtll.  i  foot  5  inches.  Height,  i  foot 
10  inches. 


—  128  — 


riAXD-BOOK    Ol'    KICYBOARIJ    JXSTRLWI ICXTS 


i'LAT  E     LI  1  1 


No.  2910 


—  I2y- 


TJll':    .\ll';ik()l'()LlT.\X    MUSEUM    OJ'    ART 


No.  2910 

Gallery    28  —  Central   Cnse. 
PIAXO.  same  as  I'lato  LIII.    Second  view,  with  frdiithoaril  removed. 


130- 


IIAXD-IIOOK    Ol-     K1-:V1U)ARI)    IXSl-RU.MEXTS 


PLATE     Ll\ 


No.    2QIO 


T.V 


THE    .METROPOLIT.W    ML'SEL'.\[    OF    ART 


No.   1197 

Gallerv   29 — Central  Case 

PIAXO.  Compass,  five  octaves — F  to  F.  Oblong  case,  supported 
upon  a  stand,  with  two  legs  resting  on  cross-bars.  The  outside  of  the 
case  decorated  with  applique  open-work  in  black  oak.  Keys,  ebony 
naturals,  with  ivory  sharps.  Primitive  Mennese  action,  without  escape- 
ment. Originally  furnished  with  one  forte  pedal,  hfting  the  dampers. 
Nuremberg,  Germany.     i8th  Century.     Maker  unknown. 

Length,  5  feet  4  inches.    Width,  i  foot  10^4  inches.     Depth,  8  inches. 

For  description,  with  illustration,  of  the  primitive  \"iennese  action, 
without  escapement,  see  .Appendix  1,  pages  300,  301. 


—  u- 


]|\XI)-11()()K    ()|-     Kh'.Vru  ).\kl)     IXSTRL'.MEXTS 


PLATE     L  \" 


No.   1197 


133- 


Tin-:    MF.TKOI'OLITAX    Ml"SEL'M    ()!•     AKT 


No.   IIQ7 

Gallerv   29 — Central   Case 

riANO,  same  as  Plate  h\'.     Second  view,  with  trontboarii  removed, 
sliowinsr  action. 


'34- 


Wn-BOOK    OF    KI-:VD()AK1)    J.XS  TKL'-MliXI'S 


I'LATI'-.     I.\    i 


No.   II07 


135  — 


THE    MirrRoroLITAX    ML'SEL.M    OF    ART 


No.  1203 

Gallery  28 — Central   Case 

PIAXO.  Compass,  six  octaves  and  one  note — F  to  G.  Upright 
model,  the  upper  part  harp-shape,  tlie  lower  ])art  in  the  form  of  a  cabinet, 
the  l\e}board  supported  by  two  mermaid  figures  in  carved  wood,  gilde(i. 
The  case  of  curled  mahoganx'  veneer  richly  inlaid  with  mother-of-pearl. 
The  works  protected  by  a  i)laited  silk  screen.  Ke\'s,  mother-of-pearl 
naturals  with  black  sharps  inlaid  with  pearl.  The  loud  and  soft  pedals 
are  jilaced  in  the  centre  lielow  the  kevboard.  Tui-cord  thrnughout.  Ger- 
many.     i8tii  Century.     ^ Faker.  Carl  Lang.  Nuremberg. 

Height.  7  feet  toJ/.  inches.    Length,  4  feet.    Depth,  2  feet. 


136. 


IIAXD-nclOR-    OF    Knvr.OARn    IXSTRUMFA'TS 


P  L  A  T  K     L  \'  1 1 


No.  1203 

—  T37  — 


'niF,    MI'.TKOpnT.ITAX    MlSiaWF    OF     \"RT 


No.   I2I4 

Gallery  28 — Central  Case 

PIAXO.  Five  octaves — F  to  F.  Oblong-  case  of  light  wood,  resting 
on  four  legs.  Keys,  Ijlack  naturals,  with  white  sharps.  ISeneath  the  front 
of  the  instrument  two  genouilleres  (knee  levers),  the  invention  of 
John  Andreas  Stein,  act  respectively  as  forte  and  soft  pedals,  the  latter 
muting  the  strings  with  cloth.  Austria.  Late  i8th  Century.  Maker, 
AntiHi  A'atter.  \  ienna. 

Lcngtli,  3  feet  3  inches.     Width,  2  feet  2  inches.     Depth  8  inches. 


138- 


HANi)-i!(_)()K  ()]■    K^;^■L;().\l^:l)   ixstruahlNTS 


P  L  A  T  E     T.  \-  I  T  r 


No.  1214 


w  — 


Till':    AlliTRDl'OLITAX    All'SiaWI    ( )!•     ART 


No.  1214 

Gallery    28 — Central   Case 


P]AX(),  same  as  Plate  L\"III.     Sccuiiil  \  icw ,   witli    frimtlioard   rc- 
nio\e<l.  shdwine"  action. 


140  — 


HAXD-BUOK    Ui'    KJjlViJUARD    i.XSTKUAliLXTS 


PLATE     LIX 


■«*.'%%- 


No.  1214 


141 


TllK    .MKlKol'uLlJAX    AirSI-.L'M    OF    ART 


No.   1213 

Gallery   29 — Central    Case 

riA.\(  ).  Compass,  six  oclavcs — 1'~  to  F.  Oblong  mahni;any  case 
with  rounded  corners,  resting  (  n  two  sujiports  with  spreatl  feet.  Ijrass 
mounted.  The  case  decorated  with  inlaid  lines.  Keys.  ivor\-  naturals, 
w  ith  1)lack  sharps.  Two  pedals  working  in  an  ornamental  lyre  below  the 
instrument  respectively  raise  the  daini)ers  (ir  unite  the  strings  witii  soft 
leather.  W'rest-pins  in  frcnit  of  instrument.  l!i-cord.  the  last  8  notes 
single.  Austria.  Early  njth  Century.  Maker,  Andre  Stein  d'Augsbourg 
a  Vienne. 

Length,  5  feet  6  inches,  \\idth,  J  feet  7'j  inches.  Depth,  I  foot  2 
inches. 

This  is  aiii^arentlv  the  work  nf  Malthans  .\ndreas  Stein,  who  removed 
from  Augsbourg  to  X'ienna  on  ti:e  death  of  his  fatlier.  Joliannes  Andreas 
Stein,  in  "1792.    The  Stein  pianos  were  used  by  Mozart  and  Beethoven. 

For  descn])tion.  with  illustration,  nf  th.e  Stein  action,  see  Appendix  I, 
pages  300,  301. 


142- 


llAXD-ru  )(  )K    Ol'    KI-:VR<  )ARI)    IXSTRUMEXTS 


PLATE     r.X 


No.  1213 


143- 


•|-lll':    MI'.TRi  )|'(  )LI  r.\.\    ML'SHl'M    OF    ART 


No.  2849 

■  Gallery    28 — Central   Case 

rcjRTABLE  I'lAXO.  Compass,  ilircc  nciavcs— !•'  to  F.  Oblonj;- 
mahogany  case  banded  with  satin  wood.  l*"onr  spindle  legs  so  arranged 
as  to  fold  under  the  case.  Frontboard  inlaid  with  marqueterie  and  the 
name-plate  in  Battersea  enamel.  Keys,  ivory  naturals,  with  black  sharp.-. 
The  catalogue  of  the  makers,  dated  1789,  descriljes  these  instruments 
as  follows :  "  Portable  Clavecins  on  two  different  jjrincijjles.  Their  tones 
are  remarkably  sweet  and  delicate,  and  their  structure  renders  them  agree- 
able for  traveling  with,  as  they  ma\-  be  convexed  and  even  performed 
upon  in  a  coach."  The  name-plate  bears  the  following  inscription  : ""  Long- 
man and  Broderip.  JNIusical  Instrument  Makers,  Xo.  26  Cheapside,  and 
Xo.  13  Haymarket,  London."     (  c.  1790.) 

Length,  2  feet  6j/  inches,    ^^'idth,  i  foot  4  inches. 

Messrs.  Longman  and  Broderip  were  the  predecessors  of  the  firm  of 
dementi  &  Collard,  Cheapside,  London. 


I.+4- 


HAND-BOOK    Ol'    Kl'.VP.OARD    INSTRUMENTS 


I'LATI'L     LXI 


No.  2849 


145 


111'.    MliTKoroLl'I'.W    MfSia'M    ol''    Ak'l' 


No.  2849 

Gallerv    2S — Central   Case 

l'(  )RTA];LF.  riAXC).  same  as  i'latc  LXl.     Sconid  view,  ihc  legs 
fnlilcd  under  llic  case. 


146- 


;iAXl)-l'.(  )()K    ()!•     KI':^'1!()ARI)    1  XSTRL'AIENTS 


]'  L  A  T  E     1 .  X 


No.  2849 


—  '47 


Tlllj;    .METKiJl'dLlTAX    AirSKLWI    (  )l''    ART 


No.   2849 

Gallery   28 — Central   Case 

l'URTA13LE  1'1AX(  ).  sanic  as  I'latc  LXI.     Third  view,  frontboard 
removed,  showing-  action. 


148- 


i  I  WD- ['.()(  )K    Ml'    Kl':\i;(  )AKI)    1  \S  TKIWIKXTS 


I^LATI".     LX 


No.  2849 


140  — 


THE    MRrR(  )r()I.lT.\.\"    .museum    ()]•    ART 


No.  2403 

Gallerv    28 — Centr;il   Case 

PLW'O.  Compass,  five  octaves — !•"  to  l'".  <  )blong  case  of  lisjlit  nia- 
lioganv.  ornamented  with  inlaid  lines,  supported  upon  a  four-leg'ged 
stand  similarly  inlaid,  with  lirass  mounts.  Keys,  ivory  naturals,  with 
black  sharps.  Two  levers  on  the  left-hand  side  of  tlie  case  act.  respect- 
ively, to  raise  the  dampers  and  mute  the  string's  with  soft  felt.  Bi-cord 
throughout.  l{ngland.  Eate  i8th  L'entury.  Maker,  deorgc  .-Vstor, 
40  Ciirnhill.  Eondon. 

Eength.  5  feet  2  inches.     \\  idth,  1  foot  10  inches.     Depth,  ij  inches. 


i=;o- 


IIAND-i;()UK    OF    KEYBUARU    1XSTKL'M]':.\"TS 


PLATE     l.X  1  \' 


No.   2403 


151  — 


iiii-:   Mi':rk(  )i'Mi.iTA\   .Misiawi   ov    \\<t 


No.  1855 

Gallery   2  s — Central   Case 

'  PIANO.  Compass,  five  octaves — F  to  F.  f)l)lone;'  case  of  ma- 
hogany, decorated  with  Hues  of  black  and  white  inlay  arranged  in  panels, 
standing'  on  fom-  turned  legs.  (Jne  forte  stojj,  worked  liy  a  lever  on  the 
left-hand  side  of  the  case,  raising  the  dani|)ers.  The  action  is  similar  to 
that  usefl  by  Zumi)e  in  the  pianos  first  made  in  England  in  the  latter  part 
of  the  18th  Century.  Fngland.  Late  i8tli  Century.  ^laker,  Thomas 
^^  estern.  near  Westminster  liridge.  London. 

Length,  5  feet  2  inches.     Width,  i  foot  0  inches.     De]jth.  <;  inches. 


—  i;2  — 


IlAXD-liooK    Ml-     Kl•;^•|;()AI^:l)    [XSTUr.\ll-:\TS 


?T.  \  TE    LXV 


No.  1855 


153 


rill':   MirrRoi'i  )[.iTAX  .Mrsiawi   nv  art 


No.  1206 

Gallery    28 — Central   Case 

PIAXO.  Compass,  five  nciaves  and  t\\(_)  iKites — F  to  G.  Oblong 
mahogany  case,  inlaicl  with  wliite  \vot)d  and  finely  painted  with  fruit 
and  flowers,  supported  mi  a  foiu'-legged  stand,  alsn  inhud  anil  painted. 
Kevs,  iviir\-  naturals,  with  black  sharps.  This  instrument  formerly  had 
the  tisual  forte  ]x-ilal  of  the  jx-riod.  I'jinland.  Early  loth  Century. 
]Maker  unknown. 

Length,  5  feet  2  inches.     Width,  1   fiml   10  inches.     Dejith,  J'j  inches. 


—  154  — 


HAXIJ-IU  )(  )K    ol'    Kl.\i;().\kl)    l.\S  IRIAIEXTS 


I'LATE     T.X\   I 


No.  1206 


155- 


rill':  .\ii-:rK(  )i'()Lrr.\x   MLSiiLwr  ur  art 


No.  2805 

Gallery    29 — Central   Case 

PIAXO.  Compass,  5  octaves  and  a  fifth — F  to  C.  Oblong  ma- 
hogany case  with  turned  legs  ornamented  with  gilt  capitals.  Keys,  ivory 
naturals,  with  black  sharps.  Bi-cord :  the  last  six  notes  overspun.  One 
forte  jiedal.  The  name-plate  bears  the  following  inscription  :  "  John 
Broadwood  &  Sons,  Makers  to  His  Majesty  and  Princesses.  Gt.  Poulte- 
ney  Street,  Golden  Square,  London.     1807."' 

Length,  5  feet  4J  j  inches.  Height,  2  feet  9  inches.  Width,  i  foot 
II  inches. 

John  Ih-uadwood  was  the  son-in-law  antl  partner  of  Tschudi  (Shudi), 
the  Swiss  harpsichord  maker,  who  established  the  business  at  Gt.  Poul- 
teney  Street  in  1732.  L'pon  the  death  nf  John  Broadwood  in  1812,  the 
business  was  carried  on  by  his  two  sons,  James  Shudi  and  Thomas  Broad- 
wood. 

The  house  of  Broadwood  figured  prominentlv  in  the  development  of 
the  early  English  pianoforte  action.  Among  their  contributions  may  be 
mentioned  the  reconstruction  of  the  square  piano  in  1780  and  three  years 
later  the  patenting  of  the  loud  and  soft  pedals.  .Vbout  1788  they  intro- 
duced a  new  scale  grand  piano,  dividing  the  curved  bridge,  and  in  1794 
made  the  first  piano  with  six  octaves.  In  1808  they  first  applied  tension 
bars  to  a  grand  piano.  In  1822  they  adajited  tension  bars  to  the  string- 
plate,  and  five  years  later  patented  tension  bars  and  stringplate  combined 
in  a  grand  piano.  Li  1847  they  invented  their  "  Iron  "  grand  pianoforte, 
and  in  1862  introduced  the  metal  pinpiece  or  wrestplank  with  screw 
tuning-pins   (  not  mechanical  ) . 

For  description,  with  illustrations  of  the  Broadwood  action,  see  .Ap- 
pendix I,  pages  298,  299. 


156  — 


HAXD-IIOOK    ()!•     KI'.\H(  )AKI)    1  XSTRTM  1-.\TS 


I'l.A  T  I-.     l.X  \    I  I 


•- 

J^ 

^^ 

^!^^ 

.. . .  ^  -    --  - 

^ 

■M- 

sM 

as— y 

No.  2805 


—  I  : 


riii;   Mi-:rK(  ii'Mi,ii-.\x  rxiusEL'^r  or  art 


No.  2805 

(iallery   nj — Central   Case 

L'l.W't  ).  same  as  I'lati.-  LX\  11.     Secuiul  view,  with  fruntlmanl  re- 
moved, shiiwiiii'"  action. 


IS8- 


IIAXD-IK  u  )K    ol'     Ki;\i;n.\|<|)    IXSTKUMEXTS 


PLATE     LX\111 


No.  2805 


159 


TIIL:    METROI'OLITAX    MfSEL'M    ()F    ART 


No.  2768 

Gallery  29 — Central  Case 

['IA.\'(  ).  Compass,  six  octaves — F  to  F.  I'pright  model,  the  upper 
part  square,  a  column  on  either  side  terminating  in  a  foliated  capital. 
The  lower  part  in  cabinet  form,  the  keyboaril  supported  by  two  carved 
legs  and  covered  by  a  rounded  lid.  The  case,  polished  mahogany :  the 
front,  above  the  keyboard,  of  crimson  l^rocade.  Keys,  ivory  naturals, 
with  black  sharps.  The  usual  Broadwood  action,  leather  hammers  co\-- 
ered  with  white  felt  and  hinged  with  a  bit  of  parchment.  The  most  in- 
teresting point  is  the  length  of  the  abstract  from  the  end  of  the  key  to 
the  action  proper,  which  is  2  feet  6  inches.  The  abstract  is  attached  to 
the  hammer-butt  with  liuckskin,  and  the  damper  is  also  attached  to  the 
abstract  in  this  case  with  wire.  Single  cord  throughout.  Length  of 
longest  bass  string,  5  feet  6  inches ;  vibrating  length  of  same,  5  feet. 
Eleven  covered  bass  strings.  England.  i8th  Century.  ]\Iakers,  John 
Broadwood  &  Sons. 

Height,  6  feet  2_;/j  inches.     Width,  3  feet  <j  inches. 


lOo  — 


HAND-BOOK    OK    KEYBOARD    IXSTKUMEXiS 
PLATE     I.XTX 


No.    2768 

—  161  — 


THE    METROl'olJr.W    ML'SEU.M    OF    ART 


No.  2768 

Gallery    2y — Central   Case 

PIAXO.     Upright  model,  same  as  Plate  LXIX.     Sceond  view,  with 
screen  remnvctl,  shmviiiE;"  action. 


162- 


ITAXn-BOOK    OF    KEYBOARD    IXSTRUArENTS 
PLATE     LXX 


,,,,,.  .  .  _  .  -  -;q 

f 

■ 

BHr^'---    .               .,*"-          .  •   r«w(S»t»r»w. 

J 

liKMaMli^r-V-rtr^ 

•;^ti«i^uWWIWW'!'f*'''^'""'^  ''T»»»"«woaii3 

:7ns77?:. 

i 

ii    1 

iiiiiiii 

ii 

ii 

' 

ii    I 

'II      1 

iii 

1 

-5 

■ 

• 

J 

i! 

•i 

1  1 II 

1 

1 

'   4 

wm£ 

-lyiiiiljii 

Jiiijiij[iiiiii 

Ij 

&..                        wm 

"'^"m^'  11 

■ 

1      -   ^! 

wj^ 

No.  2768 

— 163  — 


Till'     MI':Tk()I'OI.lTAX    Ml'SF.rM    OF    ART 


No.  1208 

Gallery   29 — Central   Case 

riAXfJ.  Compass,  six  octaves — F  to  F.  Oblong  mahogany  case, 
ni  Sheraton  style,  with  inlaid  lines  and  1  trass  mountings,  on  six  turned 
legs.  ,  Keys,  ivory  naturals,  with  black  sharps.  ( )ne  forte  pedal  raising 
the  damper.  John  Geibs  hopper  action,  invented  in  1786.  England,  c. 
1800.    Makers,  Clementi  &  Co.,  London. 

Length,  5  feet  73^  inches.     \\'idth,  2  feet.     Depth,  9  inches. 

!Muzio  Clementi  in  partnerslii]>  with  \Mlliam  Frederick  Collard.  took 
up  the  business  of  Longman  and  Broderip,  abotit  the  year  1800.  In  1773, 
when  Clementi  was  eighteen  years  of  age.  he  composed  his  famous  So- 
natas (op.  2)  for  the  ])iano.  This  was  the  first  real  pianoforte  music 
published,  and  formed  the  foundatii.m  of  the  true  sciiool  of  jiianoforte- 
Iilaying. 


164  — 


IIAXIVP.OOK    Ol'"    KI'.^I'.OAI-;!)    IXSriU'MF.XTS 


PLATE     L  X  X  I 


No,  1208 


-  if.5  ■ 


Till".    M1".TR(  )l'()l.rr.\\    ML'Sia'M    OF    ART 


No.   2804 

Gallery   29 — Central  Case 

PIAXO.  Compass,  five  octaves  and  a  fourth — F  to  C.  Mahogany 
"case,  su])ported  on  four  square,  tapering  legs,  inlaid  with  whitewood 
and  ornamented  with  brass  mounts.  The  upper  part  in  cabinet  form 
enclosing  the  works,  the  unoccupied  space  being  utilized  with  shelving. 
Two  glass  doors,  lined  with  antique  white  velvet,  decorated  with  paint- 
ing I  if  nuisical  instruments,  nuich  discolored.  Keys,  ivorv  naturals,  with 
black  sharps.  Early  English  action.  Tri-cord  throughout.  Divided 
bridge.  Two  pedals.  England.  rSoi.  ]\Iaker,  W.  \\'.  Stodart,  Golden 
Square. 

Height,  8  feet  8  inches.     Width,  3  feet  /'/S  inches.     Depth,  i  foot  to 
inches. 


1 66- 


l].\XI)-i;()()K    Ol'-    KI'-.VI'.oAKi)    ixsrurMi'.NTS 
PLATE     LXXTI 


THE    METROPOLITAN    MUSEUM    OF    ART 


No.  2804 

Gallery   29 — Central   Case 

PIANO.    Upright  model,  same  as  Plate  LXXII.    Second  view,  with 
doors  open  and  screen  removed,  showing  action. 


-—  168  ■ 


HAND-BOOK   OF   KEYBOARD    IXSTRUiMENTS 


PLATE     T.  X  X  [  T  I 


THE  METROPOLITAN  MUSEUM  OF  ART 


No.    2804 
Gallery    29 — Central   Case 

PIANO.      Upright  nioilcl.  same  as  Plate  LXXII.    Third  view,  show- 
ing back,  with  panel  removed. 


170  ■ 


PIAND-DOOK    OF    KKVBOARD    IXSTRUAIEiNTS 


PLATE     L  X  X  T  V 


171 


THE    MKTkul'oLlTAX    .ML'SICL'.M    ( )!'    ART 


No.  2718 

Gallery    28 — Central  Case 

l'IAX().  Compass,  five  octaves  ami  a  sixth — E  to  C.  Oblong  case 
of  nuihogany  with  rounded  corners:  carved  legs  with  brass  claw  feet. 
Three  drawers  below  the  kcylioard.  Keys,  ivory  nattn-als.  with  black 
sharps.  Early  English  action  with  di\'ided  bridge.  England.  18th  Cen- 
tury,    ^lakers,  Evcnden  &  Sons,  London. 

Length,  5  feet  6  inches.     Height,  2  feet  8  niches.     Depth,  2  feet  2,^2 
inches. 


—  V 


172- 


IlA.Xn-BOOK    ()I>"    K1':VU()AR1)    1XSTKL".MEXTS 


PLATE    LXXV 


! — I — I 


No.  2718 


—  ^73  — 


THE    METROPOLITAN    iMUSEU-M    OI-    ART 


No.  2718 

Gallery    28 — Central   Case 

PIANO,  same  as  Plate  LNN\'.     Second  view,  with  front  board  re- 
moved, showinir  action. 


—  174  — 


IIAXIM'.OOK    ol-'    K1{N  r.(  ).\RI)    I  XS  TRl'M  F.XTS 


I'l.  AT  i:     LX  X  \'  I 


No.  2718 


—  '7b  — 


THE    METROPOLITAN'    MUSEUAF    Ol-    ART 


No.  2147 

Gallery   29 — Central   Case 

PIANO.  Five  octaves — F  to  F.  Oblong  mahogany  case,  orna- 
mented with  raised  brass  lines  and  resting  on  four  turned  legs.  Keys, 
ivory  naturals,  with  black  sharps.  Bi-cord  throughout.  This  instrument 
originally  had  two  knee  or  pedal  levers,  the  invention  of  £rard.  1794, 
which  respectively  raised  the  dampers  and  muted  the  strings  by  lifting 
a  beam  covered  with  soft  leather.  France.  1800.  Makers,  firard 
Freres  et  Cie.,  Rue  du  Mail,  No.  37a,  Paris. 

Length,  4  feet  10J-2  inches.     Width,  2  feet.     Depth.  8  inches. 

Sebastian  Erard  was  the  first  to  make  pianos  in  France  {  1777)-  .^t 
the  time  of  the  French  Revolution  he  went  to  London,  and  returning  in 
1796  introduced  a  grand  piano.  .Among  the  improvements  in  the  de- 
velopment of  the  pianoforte  action,  the  Erards  are  credited  with  the  fol- 
lowing: In  1808  they  patented  the  upward  bearing  and  the  "celeste" 
pedal;  in  1821  the  double  escapement  action,  and  four  years  later  they 
patented  bolts  to  tension  bars.  In  1838  thev  introduced  the  "  Harmonic 
Bar.^' 

In  1824  Liszt  made  his  debut  in  Paris,  using  an  Erard  grand  ])iano 
of  seven  octaves,  C  to  C. 


—  176- 


HAND-nODK    ()P    KKYI'.OARn    IXSTRUMENTS 


PLATE     LXX  V  I  I 


No.  2147 


177 


THE    Ml-.TRt  X'OLir.W    .MlSia.M    (  )l'    ART 


No.  2147 

Gallery    29- -Central   Case. 

FL-WC),  same  as  Plate  LXXNII.     Second  view,  with  trdiithoard  re- 
moved, showing'  action. 


-178- 


II.WD-UooK    ()1-    Ki'IVliOARl)    IXSTRU.MEXTS 


PLATE    L  X  X  \'  T  T  T 


No.  2147 


■7y- 


Till'.    ME'rK(  )['(_)!. IT. \\     Ml'Sl'.rM    n]-     ART 


No.  1951 

Gallery    28 — Central   Case 

PIANIXO.  Five  octaves — F  to  F.  Narrow  oblong  mahogany  case, 
with  cut  corners,  resting  on  four  scjuare  legs.  Keys,  ivory  naturals,  with 
black  s!iar])s.  Xo  pedals  or  stop  levers.  Europe.  Late  iSth  Century. 
Maker  unknown. 

Length,  3  feet  6  inches.     \\'i(Itl).  i  foot  2j/  inches.     Depth,  6  inches. 


180 


AXII-ROOK    t)F    KEYBOARD    IXSTRLMENTS 


PRATK     r,XXIX 


No.  1951 


T«I 


THE    METROl'OLITAN    :\IU.SEU.M    OE    ART 


No.  1 199 

Gallery    29 — Central   Case 

I'lAXC ).  Five  octaves — E  to  E.  Oblong-  case  of  mahogany,  in- 
laid with  white  wood  and  ornamental  lines,  resting  on  a  stand  with  four 
legs,  brass  mounted.  Keys,  ivory  naturals,  with  black  sharps.  A  forte 
lever  on  the  left-hand  side  of  the  case  raises  the  dampers.  Bi-cord. 
U.  S.  A.    Late  i8th  Century.    Maker,  Clias.  Albrecht,  Philadelphia. 

Length,  5  feet  2^4  inches.    Width,  2  feet  y  inches.     Depth,  9  inches. 

Charles  Allirecht.  a  German,  liegan  making  pianos  in  Philadelphia 
as  early  as  i/Sy.  In  Spillane's  "  History  of  the  American  Pianoforte  " 
(New  York,  1890,  p.  "j"/),  reference  is  made  to  the  above  instrument, 
describing  it  as  having  "  a  beautifullv  finished  and  inlaid  case,  that  is 
almost  a  composite  work  of  art  in  itself,  and  speaks  much  for  .-Mbrecht's 
skill  and  aesthetic  perceptions.  It  contains  some  distinctly  original  ideas 
in  detail  in  the  form  of  the  case,  which  go  to  show  that  the  person  re- 
ferred to  was  no  mere  plagiarist  of  mechanical  ]irinciples,  but  an  im- 
prover." 


—   !,Xj 


HAXD-l'.ooK    oi"    KI'.VBUAKD    IXMTtUMF.XIS 


TLATE    LXXX 


No.    IIQO 


-,S.^ 


.\lin'R(_)l'(_)LIT.\.\    AirSKL'-M    OF    ART 


No.  1199 

Gallery    29 — Central   Case 

PIA.XO.  same  as  Plate  LXXX.     Second  view,  with  frontboard  re- 
moved, showing:  action. 


-.84- 


IIANU-BUOK    UF    KHYBOARU    iXSTRLAlHNTS 


LAT  1-:     l..\  X  X  I 


No.  1 199 


185 


Tin:  .Mi-:TK()ruLiT.\.\"  ml'SElwi  uf  art 


No.  2858 

Galler\'    nj — Central   Case 

PIAXt  ).  Compass,  five  octaves  and  a  tifth — F  to  C.  f Oblong'  ma- 
hogany case  with  inlaiil  Hnes.  Ke\s  ivory  naturals  with  black  sharps. 
Bi-cord  throughout,  'the  eight  lower  bass  notes  over-spun.  Originally 
furnished  with  a  forte  pedal  raising  the  dampers.  L".  S.  A.  c.  1800. 
Maker,  Benjaniin  Crehore,  Boston. 

Length,  5  feet  d' j  inches.  \\'i(lth,  1  foot  1 1  '4  inches.  Height,  2  feet 
9J/i  inches. 

Benjamin  Crehore  was  born  in  Milton.  iNlass.,  where  he  died  in  i8ig. 
He  was  the  first  to  make  pianos  in  Boston,  about  1798-1800.  The  date 
of  his  earliest  piano  is  not  known,  but  in  1791  he  had  alreadv  acquired 
a  reputation  in  Boston,  New  York  and  Philadelphia,  as  a  maker  of  violins 
and  otlier  instruments. 


—  1 86  — 


II  \.\l)-l',(  H  )K    ()!■■    Ki;Vi;(  ).\KI)    IXS'IKIMICNTS 


P  L  A  T  F.     L  X  N  X 


No.  2858 


-187- 


TMK    MI'.TKi  )l'(  )|.H  A.\    MrSia'NF    OF    ART 


No.  2858 

Gallery   29 — Central   Case 

I'lAXC),   same  as    Plate   LXXXII.      Second  view,    with    trontboarri 
removed,  showing-  action. 


-  188 


II  WD  r,(  H  iK    ()]■-    Kl'-.vno  \Ri)    IXSTt^rMF.XTS 


P  T.  A  T  E     T,  X  X  X  T  T  T 


No.  3858 


— 189- 


THE    :\IETROrOT.TTAX    Ml•SEU^[    OF    ART 


No.  2Q45 

Gallerv   29 — Central   Case 

I'l  AX(  ).  Ciinipass,  six  octaves,  F  ti)  !■".  Ulilung  inahoLjam'  case  with 
tunict!  legs.  Keys  ivory  naturals  with  hlack  sharps.  Bi-cord  :  the  six 
liiwer  notes  (ivcr-s])un.     I'.oston,  I'.  S.  A.,  c.  1833.     Maker,  tniirad  Meyer. 

Length.  5  feet  7J4  incb.es.  Height.  2  feet  11 '4  inches.  Width.  2 
feet  4'_|  inches. 

Conrad  Meyer  was  born  in  Marburg.  Hesse-Cassel.  He  emigrated 
to  Baltimore  in  i8ig  and  subsequently  settled  in  Philadelphia,  where  he 
died  in  1881.  In  1832  he  introduced  a  ]iiano  with  an  iron  frame,  thus 
initiating  the  system  of  metal  plates. 


—  190  — 


irwo-r.noK  ov  kf.yp.oard  l\■STRU^rF.\TS 


PLATE    LXXXIV 


No.  2945 


T91 


THE    MKTRUl'ULlTAX    .ML'SEL'-M    UE    ART 


No.  2812 

Gallery  29 — Central  Case 

PIANO.  Compass,  six  octaves — E  to  E.  Oblong  mahogany  case 
profusely  ornamented  in  gilt  and  brass  moulding,  with  carved  pieces 
under  the  keyboard.  Carved  legs.  Keys,  ivory  naturals,  with  black  sharps. 
Bi-cord ;  the  last  eight  notes  oversprui,  the  six  lower  notes  single, 
ilakers.  Loud  Brothers,  Philadelphia.    Early  lyth  Century. 

Length,  5  feet  9  inches.    Height,  3  feet.    Width,  2  feet  5  inches. 

Thomas  Loud,  Sr.,  whose  sons  formed  the  above  firm,  was  an 
Englishman  and  the  first  pianoforte  maker  to  introduce  overstringing, 
v/hich  he  jiatented  in  England  in  1802.  He  afterwards  emigrated  to  New 
York,  where  in  1822  he  had  a  small  repair  shop  at  102  Canal  Street,  after- 
wards transferring  his  business  in  1828  to  Walker  Street,  and  later  to 
Broadway  near  Grand  Street.     He  died  in  1834. 

Thomas  Loud,  Jr.,  the  founder  of  the  firm  of  Loud  Bros.,  was  m 
liusiness  in  Philadelphia  as  early  as  1816.  The  name  "  Loud  Bros."  first 
appears  in  1822.  The  firm  was  famous  in  its  day.  doing  a  large  business 
until  1837  when  it  met  with  reverses  and  suspended  manufacturing.  Later 
the  firm  of  Loud  &  Companv  was  established  and  continued  in  business 
until  1854. 


192  — 


JIA.\l)-l;()i  >K    ol-    KI-;Vi;(  )Akl)    ixstrlwikxts 


PLATE     L  X  X  X  V 


No.  2812 


—  '93 


THE    METROPOLTTAX    AfUSEl'M    OF    ART 


No.  2812 

Gallery  29 — Central  Case 

PIAXO,  same  as  Plate  LXXXW    Second  view,  with  frontboard  re- 
moved, showins:  action. 


_r94- 


HAND-BOOK   OF   KEYBOARD    INSTRUMENTS 


PLATE     LXXX\T 


No.  2812 


193 


THE    METRorOLlTAX    .ML'SIIL'.M    OF    ART 


No.  1 1 98 

Gallery  zS — Central  Case 

PIAXO.  Compass,  six  octaves — F  to  F'.  (Jblong  case  of  dark 
mahogany,  with  rounded  comers,  supported  by  a  stand  of  two  legs,  rest- 
ing on  cross-bars.  The  case  profuse  in  gilt  decoration  of  conventional 
designs  of  fruit  and  flowers.  The  stand  elaborately  carved,  with  claw 
feet  having  in  the  centre  a  lyre  supporting  the  pedals.  Keys,  ivory 
naturals,  with  black  sharps.  Two  pedals ;  one  forte,  raising  the  dampers, 
the  other  muting  the  strings  with  leather.  Hitch-pins  attached  to  an  iron 
frame.  P.i-cord,  the  five  lower  strings  single.  U.  S.  A.  c.  1825. 
Maker,  John  Tallman,  Xew  York. 

Length,  5  feet  9  inches.  Width,  2  feet  2  inches.  Depth,  i  foot  3 
inches. 


196- 


[IA.\I)-I1(  )(  )K    ()1"    Kl-:>tU).\RI)    IXSI'RLWIKXTS 


PLATE     LXX  X \   1  r 


No.  1 198 


—  197 


THE    METROPOLITAN    MUSEU?iI    OF    ART 


No.  1187 

Gallery   28 — Central  Case 

PIAXO  HARP.  Compass,  seven  octaves — C  to  C.  This  instru- 
ment, which  is  built  in  the  form  of  a  large  harp  with  keyboard  attached, 
rests  on  a  solid  base  in  cabinet  form.  The  curve  of  the  harp,  the  front  pil- 
lar and  keyboard  front  decorated  with  gilt  moulding  and  ornaments  in 
gesso  work.  Keys,  naturals  ivory,  with  rounded  fronts ;  sharps  black. 
Strings  of  metal ;  bi-cord  ;  last  seven  strings  single.  The  loud  and  soft 
pedals  are  placed  in  the  centre  below  the  keyboard.  Europe,  c.  1800. 
Maker  unknown. 

Length,  4  feet  9  inches.    Width,  2  feet  1  inch.    Height,  7  feet  7  inches. 

Mussard,  of  Lausanne,  made  pianos  of  this  shape  in  the  earlv  part 
of  the  last  centurv. 


198 


HA\D-1',U()K    OF    KEYBUARD    INSTRUMEiXTS 


P  L  A  T  E     L  X  X  X  \   I  I  I 


No.  1 187 


— 199  ■ 


Till".    METROrOLITAX    MUSEUM    OF   ART 


No.   1228 

Gallerv   28 — Central  Case 

1228.  BOX  PIAX< ).  Two  views:  figure  1.  aciiuii  in  [jlace:  tigure  2.  action 
partially  withdrawn.  Compass,  two  octaves  and  a  fifth — F  to  C.  Small 
square  case,  covered  with  ebonizefl  veneer.  ( )n  the  outside  of  the  cover 
is  a  medallion  painted  on  the  natural  wood,  representing  a  large  tree, 
lieneath  \\hich  two  maidens  are  ofTering  gifts  at  the  altar  of  Diana.  In 
the  interior  of  the  cover  a  medallion  in  gilt  inlay,  re]5resenting  a  Roman 
head.  The  kevboard  draws  out  for  the  purpose  of  playing.  Keys,  white 
naturals,  with  black  sharps.  I'.i-cord.  I'rancc.  c.  1800.  Maker  un- 
known. 

Length,  I   foot  ')  inches.     \\'idth.  I   foot  5  inches.     Depth,  '/y4  inches. 

This  instrument  formerly  belonged  to  the  Duchess  of  Parma. 


No.   1246 

Gallery   28 — Central   Case 

1246.  ORPHICA.  Two  views:  figure  i,  frontboard  in  place:  figure  2, 
frontlioard  removed.  Compass,  four  octaves — F  to  ]•'.  This  instrument  is 
in  the  form  of  a  recumbent  harp,  with  metal  strings,  and  keys  enclosed 
in  a  walnut  case.  Keys,  ivory  naturals,  with  black  sharps.  One  string 
to  each  note.  Austria.  Invented  by  .Vugust  Rollig  in  1795. 
Length.  4  feet  5'/.  mches.     ^^'idth.  i   foot  I^-S  inches. 


200  ■ 


\.\l)-r,()OK    Ol-    KliVBOARD    INSTRUMENTS 


PLATE    LXXXTX 


No.   1228 


No.  1246 


201  — 


THE    METROPOLITAN'    MUSEUM    OF   ART 


No.  1204 

Gallerv    28 — Central  Case 

WORK-BOX  PIAXO.  Compass,  four  octaves— F  to  F.  A  short, 
oblong  case  of  dark  walnut,  inlaid  with  white  wood,  standing  on  a  carved 
leg,  with  broad  base.  The  cover  bearing  the  figure  of  aii  eagle  within  a 
wreath.  On  lifting  the  cover  a  work-box  is  disclosed,  with  looking-glass. 
Beneath  the  tray  is  the  instrument,  with  recessed  keyboard.  Printed  on 
the  block  are  these  words :  "  Imported  and  sold  by  S.  Hart  &  Sons,  port- 
able desk  and  dressing-case  warerooms,  Philadelphia."  One  string  to  each 
note,  the  12  top  notes  bi-cord.  Europe.  Early  iQth  Century.  Maker 
unknown. 

Length.  2  feet  5  inches.     Width.  1  foot  T)  inches.     Depth,  6' I.  inches. 


202  ■ 


M\xn-p,(')OK  f)i-   k'F.vr.oARn  ixstrumexts 


PLATE    X  C 


No.  1204 


—  203 


Ill 

Keyboard  Stringed   Instruments,   Bowed 

Claviola 

Corresponding  to  Class  I,  Division  II,  Section  C 
OF  Handbook  No.    13 


TTTF.    ArFTROPOI.IT  \\"    Ari'SRVM    Ol^"    ART 


No.  2404 

Gallery   28 — Central  Case 

CL.WIOLA.  Compass,  two  octaves  and  four  notes — G  to  P>. 
Small  chest  of  wood,  from  whicli  rises  a  small  viol-shaped  sound-board, 
across  which  are  stretched  2^  wire  strinns,  resting  on  3  bridges.  In 
front  a  guide,  sliding  along  a  brass  rod,  holds  a  violin  bow.  On  press- 
ing a  key  the  string  is  raised  and  brought  into  contact  with  the  bow. 
The  four  upper  notes  are  produced  frnni  the  strings  in  the  octave  below 
by  means  of  a  small  pad  on  a  lever,  which  touches  the  lower  strings 
half-way,  thereby  producing  the  octave  harmonic.  Keys,  white  naturals, 
black  sharps.    Europe.    Late  ii)th  Century.     Maker  unknown. 

Height.  2  feet  5^4  inches,  ^^'illtll.  1  foot  3-V4  inches.  Length  of  bow, 
2  feet  3j-^  inches. 

The  Claviola  was  invented  by  John  Isaac  Hawkins,  of  Bordentown, 
Xew  Jersey,  an  Englishman  bv  birth  and  an  engineer  by  profession.  The 
invention  was  introduced  in  Philadelphia  in  1802. 


206  — 


IIAXD-BOOK   OF    KEYBOARD    INSTRUMENTS 


P  L  A  T  E     X  L'  I 


No.  2404 


207  — 


THE  ai]':tr(ji'olitax  ml'skl'.m  of  art 


No.   2908 

Gallery    28 — Central   Case 

.  KEYBOARD  BOWEL)  IXSTRL'^IEXT  (TOXOMETER?). 
Compass,  one  octave  and  a  sixth,  B  flat  to  F  natural.  A  shallow  soundbox 
with  flat  back  resting  on  two  cross-bars ;  the  outline  somewhat  similar  to 
the  viol.  Reddish-brown  varnish.  Two  C  sound-holes.  The  keyboard, 
mounted  in  a  small  framework  or  box,  is  placed  on  the  neck  of  the  instru- 
ment. When  the  keys  are  depressed  they  come  in  contact  with  three 
slender  wires  which,  j^assing  under  them,  rest  upon  a  bridge  and  are 
wound  about  a  single  peg  at  the  opposite  end  of  the  instrument.  Keys, 
l)oxwood  naturals  with  black  sharps.  A'c^sges,  France.  171P-1820. 
Length,  i  foot  6  inches.    Width,  7  inches. 


—  208- 


IIAXD-JJOUK    OF    KEYBOARD    IXSTRLMKXTS 


PLATE     XCII 


No.  2908 


209  ■ 


IV 

Keyboard  Wind  Instruments 
Organs,  Harmoniums,  etc. 

Corresponding  to  Class  II,  Division  II,  Sections  A  and  B 
OF  Handbook   No.    13 


2IT  — 


Till-;  Mi'/iKi  )i'()Lrr  \.\   :\irsEU.\r  of  art 


No.  2883 

Gallery   26 — Central  Case 

REGAL.  Compass,  three  octaves  and  a  third,  F  to  A.  An  oblong 
case  of  painted  wood  in  two  parts,  each  of  which  contains  a  bellows. 
\Mien  the  instrument  is  in  use  these  bellows  are  fitted  to  the  back  of  the 
keyboard,  and  liy  lifting  them  alternately,  wind  is  supplied  to  a  set  of 
small  metal  pipes  fitted  with  beating  reeds  placed  immediately  behind 
the  keys.  The  interior  of  the  case  is  lined  on  one  side  with  sheets  of 
musical  manuscript,  on  the  other  with  illuminated  manuscript  and  a  label 
bearing  the  following  inscription:  "  Ao  1575  ververdigte  Georg  YoW 
Orgelmager  in  Nuremberger  dis  orgelwegk  ur  (  ?' )  manzusammen  und 
in  die  Balge  (ge)  legt."  The  keys  are  light  wood  naturals  with  black 
sharps.  When  the  instrument  is  closed  the  keyboard  is  placed  between 
the  bellows  which  form  the  case.  The  original  decorations  of  the  case, 
which  have  been  partially  destroyed  by  several  coats  of  paint,  consisted 
of  a  monogram,  in  which  the  letters  A'  G  are  distinguishable,  surmounted 
by  a  coronet,  a  horn  of  plenty  on  either  side.    Germany,  i6th  Century. 

Length,  2  feet  3^  inches.  Width,  iij.4  inches.  Depth,  5J2  inches. 
Dimensions  of  closed  case. 

The  invention  of  the  Regal  is  accredited  by  Adlung  to  G.  \'oll,  an 
organ  builder  living  at  Nuremberg  in  the  middle  of  the  i6th  Century. 
It  was  originally  built  on  a  small  scale  and  used  as  a  portable  instrument 
in  religious  processions,  especially  in  the  precatory  walks  of  the  peasants 
at  harvest  time  when  a  blessing  was  invoked  upon  the  crops.  \Mien 
employed  in  this  way  it  was  suspended  from  the  left  shoulder  by  a  strap 
and  the  bellows  were  worked  by  the  left  arm,  while  the  right  hand  touched 
the  keys.  It  was  afterwards  built  on  a  larger  scale  for  tise  in  chapels 
and  monasteries. 


HAXD-MooK    ()!■■    KMViJoARl)    IXSIRl  M  l-.XtS 


P  LATE     X  C  I  I  I 


No.   2883 


273- 


Till'.    METROPOLITAN'    Ml'SKl'M    OF    ART 


No.  2883 

Gallery   26 — Central   Case 

REGAL,  same  as  Plate  XCIIL  Second  view,  sliowine;  tlie  interior 
of  the  case  and  the  pipes  at  the  Ijack  of  the  keyboard,  also  the  points  at 
which  the  bellows  are  attached. 


—  214  — 


HAND-BOOK   OF    KEYBOARD    INSTRUMENTS 


PLATE     X  ( ■  1  \" 


No.  2883 


215  — 


Mirn^lol'oI.ITAX    MUSEUM    OF    ART 


No.  2883 

Galler\-    ib — Central   Case 

REGAL,  same  as  I'lau-  Xl'1  1 1.     Tliiiil  \ie\v.  showiiiQ-  \hv  case  closed. 


216  ■ 


HAXD-l'.OOK    OF    KKVIU  lAKD    I  \S  TRIM  EXTS 


PLATE     X  C  V 


No.  2883 


Till".  Mi:TR()P()i.rr,\x  ml'Seum  of  art 


No.  1191 

Gallery   26 — Central  Case 

CAPiTXET  ORGAX  with  Removable  Spinet.  Compass,  three  octaves 
and  eight  notes — C  to  A.  Case  of  ebony  veneered  wood  in  the  form 
of  a  cabinet,  decorated  on  the  outside  with  panels  of  antique  crimson 
velvet,  supported  on  a  four-legged  stand  (renewed).  On  opening  the 
folding  doors  a  cabinet  is  disclosed,  liaving  14  drawers  and  a  central  cup- 
board with  bronze  door-mounts,  and  a  decorative  bronze  panel  repre- 
senting the  Entomliment  of  Christ,  llelow  is  the  keylioard  of  the  organ. 
Kevs,  ivory  naturals,  with  l)lack  shar]is.  Tl.e  lowest  octave  short; 
the  ujiper  G  sharp  omitted.  (  )n  the  left-hand  side  are  four  stops, 
admitting  the  wind  to  the  following  registers  placed  at  the  back  of  the 
case:  Stop  Diapason,  Flute,  Super-Octave  and  Regal,  the  pipes  of  the 
last  two  registers  missing.  The  organ  is  blown  by  a  liandle  attached 
to  the  side  of  the  stand  of  the  case,  and  working  a  small  bellows  beneath 
the  cabinet,  from  which  the  wind  is  transmitted  to  a  wind  reser- 
\'(iir  ])laced  on  the  top.  This  may  not  have  lieen  the  original  method  of 
bldwing  the  instrument.  Immediately  above  the  keyboard  of  the  organ 
is  placed  in  a  recess  an  octave  s]iinet.  Compass,  three  octaves  and 
eight  notes.  This  instrument  nia\'  be  plaved  either  within  tlie  cabinet 
or  may  lie  withdrawn  for  separate  use.  The  sound-board  is  painted 
with  flowers,  and  has  one  small  rose.  Germany,  1598.  Maker,  Lau- 
rcntius  Hauslais.  On  the  jack-rail  of  the  Spinet  is  the  following  in- 
scription: "  D.  G.  Quid  posible  apud  Laurentinm  Hauslais  X 
Toribergensur,"  i.  e.,  "  P.v  the  favor  of  God.  see  what  Fawrence  Hauslais 
of  Xuremberg  can  do." 

\\'idth,  2  feet  5  inches.     Height,  2  feet.    Depth,  I  foot  10  inches. 


21!: 


HA\D-1!0()K    OF    KEYBOARD    INSTRUMENTS 


r  L  A  T  !■:     X  C  \'  T 


No.  1191 


219- 


THE    .ML:TR()rt)Lri".\X    .ML'SKUM    (  )!■■    ART 


No.     iioi 

Gallery    26 — Central    Case 

CAIIIXHT  ()K(.A.\,  with  reninvahk'  spinet,  same  as   Plale  XCN'I. 
Second  view,  showing  air  reservoir  distended  and  spinet   in  position. 


220- 


HAND-BOOK    ol'    KI••.^■|!()AK^)    INSTRUMENTS 


PLATE    XC\I1 


No,   1191 


221 


THE    MliTKOi'CJLITAX    MUSEUM    OF    ART 


No.  1191 

Gallery    26 — Central   Case 

CARTXET  ORGAN,  with  removable  spinel,  same  as  I'iate  XCA'I. 
Third  view,  showing  spinet  withdrawn. 


—  222 


IIAXD-BOOK    OF    KEYUUAKl)    INSTRUMENTS 


PLATE     XC\TTT 


No.  1191 


—  223  — 


THE    Ail'Tkol'Ol.ITAX    ML'SKLM    ol'    ART 


No.    IIQI 

Gallery    26 — Central   Case 

CAr.IXKT  OKG.W,  with  reniovalile  spinet,  same  as  Plate  XCVL 
I'^ourth  view,  showing;  pipes  at  the  back. 


224- 


11. WD- BOOK    OF    KLlVl'.OARl)    INSTRUMENTS 


I'LATL:     X  CI  X 


No.    IIQI 


—  225  - 


THE    AiKT[<()i'C)Lri'AX    MUSEUM    Ol'    ART 


No.   1 1 88 

Gallery   26 — Central   Case 

!'(  )I\TATI\'E  ORGAX.  Two  views:  fii^urc  i,  front  view  ;  figure  2, 
back  view.  Compass,  four  octaves  and  one  note — E  to  F.  A  low  wooden 
case,  exterior  painted  blue,  with  conventional  ornaments  of  gilt  and  gilt 
moulding ;  in  the  centre  below  the  keyboard  a  grotesque  head.  At  the 
back  and  outside  the  case,  one  set  of  wooden  open  pipes,  arranged  in  two 
rows.  Kevs,  boxwood  naturals,  with  black  sharj)s.  The  organ  is  blown 
by  two  small  handles  attached  to  small  Ijellows,  which  fill  an  air  reservoir 
concealed  beneath  the  pipes.  Italy,  17th  Century  (  ?).  In  its  present 
form  tliis  instrument  contains  a  great  deal  of  new  work. 

Length,  i  foot  10I2  inches.  Depth,  i  foot  5  inches.  Height,  not  in- 
cluding ])ipes.  1  I   inches. 

The  term  "  Portative  "  was  applied  to  a  little  instrument  which  could 
be  moved  easily  by  one  person  from  place  to  place,  and  in  its  smallest 
form  could  be  jilayed  while  carried — as  often  seen  in  jiaintings  repre- 
senting St.  Cecilia.  .\  "  Positive  "  was  a  larger  organ,  requiring  more 
eflfort  to  move  aad  only  playable  wdien  placed  in  position. 


—  22fi  — 


JI.\XI)-l!OUK   OF   KEYBOARD    INSTRUMENTS 


r  L  A  TEC 


No.  1188 

—  227  — 


THE    MKTROrOI.TTAX    Ml'SEL"M    OF    ART 


No.  1 193 

Gallery   -6 — Central    Case 

SMALL  POSITIX'E  ORGAX.  Two  views:  figure  i,  front  view; 
figure  2,  back  view.  Compass,  three  octaves  and  nine  notes — C  to  A ; 
the  lowest  octave  short.  Dark  wooden  case  with  ordinary  beading,  llie 
folding  doors  bearing  two  coats  of  arms.  42  pipes  within  tlie  cabinet :  a 
carved  screen  w'ith  ornamental  pipe-front  conceals  one  set  of  sounding 
pipes ;  the  treble  of  open  metal,  the  bass  of  stopped  wood  arranged  in 
two  rows.  On  each  side  of  the  keyboard  a  block  with  carved  scroll.  Xo 
stops.  Keys,  ebony  naturals  with  gilt  fronts,  ivory  sharps.  The  organ 
is  blown  by  two  small  bellows  on  the  top  of  the  instrument,  raised  alter- 
nately.    Germany.     Early  17th  Century.     Maker  unknown. 

Height,  2  feet  10  inches.     Width,  i  foot  7  inches. 


HAXD-r.OOK    OF    KEYBOARD    INSTRUMENTS 
PLATE     C  T 


No.   1193 

—  229  — 


TTTE    ArETROPnUTAX    ^Il'SECM    ()]■    ART 


No.  1 190 

Gallery   26 — Central   Case 

SMALL  CABIXET  ORGAX.  Compass,  two  octaves  and  two 
notes — C  to  T).  Walnut  case  in  cabinet  form,  almost  black  from  age, 
with  carved  i)ilastcrs.  rejiresenting  human  fif^ures,  at  each  side,  and 
i\'(iry  i>laques  inserted  in  the  corners,  representing  saints  in  prayer;  in 
front,  four  small  drawers,  with  central  cuplmard.  having  folding  doors 
carved,  with  l)rass  mounts.  Immediately  above  the  keys,  wliich  are  placed 
within  a  recess  liencath  the  drawers,  lined  with  antique  velvet,  an  oil 
])ainting  representing  the  raising  of  Dorcas.  At  the  back  of  the  cab- 
inet one  set  of  metal  pipes,  arranged  in  two  rows.  Keys,  ebony, 
with  white  sharps.  The  organ  is  blown  by  a  carved  hand-lever,  wliich 
projects  from  the  right-hand  side  of  the  cabinet.  The  air  reservoir 
(  now  missing)  was  originally  placed  on  top  of  the  caliinet.  Beautiful  in- 
strument.    Germany.     Early  T7th  Century.     jNIaker  unknown. 

Height,  I  foot  9  inches,  ^^'idth,  I  foot  11  inches.  Depth,  I2j^ 
inches. 


■230- 


ITAXD-r.fX^K    OF    KF.VI'.OARl)    I\•STKr^[F.XTS 


P  T.  A  T  F.     C  T  T 


No.   1 190 


2.^1 


TITK    MF.TRorOl.TT AX    ^rrSEl'^F    OF    ART 


No.  2027 

Gallery   26 — Central   Case 

BIBLE  RE(7iAL.  Two  views:  figure  i,  folded  between  the  bellows; 
figure  2,  keyboard  and  bellows  in  position.  Compass,  four  octaves — C  to 
C.  An  oak  case  in  book  form,  placed  at  the  back  of  the  keyboard,  contains 
two  bellows,  which  were  lifted  alternately,  supplying  wind  to  the  instru- 
ment. Immediately  behind  the  keyboard  is  a  set  of  pipes,  furnished  with 
beating  reeds,  placed  on  their  sides.  Keys,  light  wood  naturals,  with  black 
sharps.  The  keyboard  folds  in  the  middle,  and  with  the  pipes  can  be 
placed  within  the  book-shaped  case  ;  hence  the  name  Book  or  Bible  Organ. 
Germany.  17th  Century.  Reproduction.  (Original  in  the  Galpin  Col- 
lection, Hatfield,  England. 

Length,  i  foot  7  inches.     Width,  i  foot.     Depth.  "8  inches.     Dimen- 
sions of  closed  case. 


232 


IIAXD-i;0()K    OF    KEYBOARD    IXSTRUMENTS 


PLATE     C  I  1  I 


No.  2027 


23,^ 


THE  METROPOLITAX  MUSEUM  OF  ART 


No.  2601 

Gallery   26 — Central  Case 

BOOK  ORGAX'.  Two  views:  figure  i,  closed;  figure  2,  open, 
showing  bellows.  Compass,  two  octaves  and  eight  notes —  A  to  C.  A 
case  in  the  form  of  an  old  missal  book,  covered  with  brown  leather,  and 
ornamented  with  large  embossed  mounts  of  pierced  brass.  On  loosening 
the  leather  fastenings  and  raising  the  cover,  immediately  in  front  is 
found  the  keyboard,  and  at  the  back  two  long  bellows,  furnished  with 
lead  weights,  and  raised  alternately  by  two  leather  straps.  Below  the 
keyboard  are  placed  the  reeds,  on  the  single  beating  principle,  as  in  the 
old  Regal  organs.  Keys,  stained  boxwood  naturals,  with  black  sharps. 
France.     17th  Century.    Maker  unknown. 

Length,  i  foot  7  inches.     Width.  12'/  inches.     Depth.  4'j  inches. 


2.S4- 


IT.\.\1)-1!()()K    ()1-     KI'-.VnoARI)    IXSTRl  .\li;.\TS 


r  L  A  T  1{     C  1  V 


No.  2601 


—  ^35- 


THE    -METKUl'OLITAX    MUSEU.M    OF    ART 


No.  1668 

Gallery  26 — Central  Case 

BOOK  ORGAN.  Compass,  two  octaves  and  seven  notes — F  to  C. 
A  case  in  the  form  of  four  folio  books,  covered  with  stamped  leather, 
each  bearing  the  title,  "  Traite  des  Pais  Bas."  Within  the  cover  is 
attached  an  engraving  of  the  Supper  at  Enimaus.  On  opening  the  cover, 
which  is  formed  by  the  first  volume,  immediately  in  front  is  the  key- 
board ;  at  the  back,  a  bellows  moved  by  a  lever  with  a  carved  handle 
outside  the  case,  and  consisting  of  one  small  bellows  and  an  air  reservoir. 
Below  the  case  are  the  reeds,  on  the  free  reed  principle.  Keys,  black 
naturals,  with  white  sharps.  France.  The  case  appears  to  be  old — 17th 
Century;  the  interior  renewed.     Maker  unknown. 

Length,  i  foot  7J4  inches.    Width,  i  foot  2  inches.    Depth,  934  inches. 


236- 


ll.\XU-1300K   OF   KEYBOARD    IXSTRL'.MKXTS 


PLAT  !•:    C  \' 


L  ^^*^%| 

L  "^mis«>"5is' 

<gea 

No.   1668 


■237 


THE    .METROPOLITAN    AILSEL'M    OF    ART 


No.  2289 

Gallery   26 — Central   Case 

BOOK  ORGAN.  Two  views:  figure  i,  keyboard  and  bellows  in 
position  ;  figure  2,  bellows  removed,  showing  pipes.  Compass,  one  octave 
and  ten  notes — G  to  F.  Bottom  G  sharp  omitted.  A  case  in  the  form  of 
a  parchment-covered  book.  On  raising  the  cover,  which  has  on  the  in- 
side a  colored  picture  of  musical  monks,  is  found  the  keyboard  and  blow- 
ing apparatus,  consisting  of  one  small  bellows  and  a  reservoir.  Keys, 
elimn-  naturals,  with  black  sharps,  llcneath  the  ke\board  and  bellows 
are  the  stopped  wooden  pipes.  Cicrmany.  The  case  antique :  interior 
mechanism  renewed.    ^ laker  unknown. 

Length,  i  foot  i  inch.    \\'idth.  9  inches.    Depth.  4'4  inches. 


238- 


iiA.\i)-i;()(  iK  ()|-   Kl•.^•l'.().\l\l)   i.\STRL'.Mi':\'rs 


r  L  A  T  !•:   c  ^■  t 


[B  .'1 


No.  2289 


-^39  — 


THE    METROrOLITAX    ML'SEUM    OF   ART 


No.  1780 

Gallery   26 — Central  Case 

CHAMBER  ORGAN.  Compass,  four  octaves  and  four  notes — C 
to  E,  lower  C  sharp  wanting.  Tall  mahogany  case,  with  ornamental  pipe- 
front.  Sheraton  tracery  and  inlaid  with  black  and  white  lines.  The 
keyboard  slides  within  the  instrument  when  not  in  use,  and  on  each  side 
are  placed  two  stops,  admitting  the  air  to  the  following  registers :  Stop 
Diapason  Treble,  Stop  Diapason  Bass,  Principal  and  Super-Octave.  The 
diapasons  of  wood,  the  other  pipes  metal.  The  organ  is  blown  by  a  foot 
pedal  placed  below  the  keyboard,  and  on  the  left-hand  side  is  one  small 
composition  pedal.    England.    1779.    Maker,  Thos.  Chapman,  of  London. 

Height,  6  feet  8  inches.     Width,  3  feet  1 1  inches. 


—  240 


HAND-BOOK    OF    KEYBOARD    IXSTRL'Ml'IXTS 
PLATE     CVl] 


No.  1780 


241  — 


THE    AlETROl'ULlTAX    ML'SEL'M    UE    ART 


No.  1780 

Gallery   26 — Central   Case 

CHAAIBER  ORGAN,  same  as  Plate  CATL     Second  view,  showing 
fnint  with  ornamental  jjipe-front  removed. 


—  242- 


TIAXD-BOOK    OF    KEYBOARD    INSTRU.MLXTS 
PLATE     C  ^'  I  T  T 


No.  1780 

—  243  — 


THE    METROI'OLITAX    MUSEUM    OF    ART 


No.  1780 

Gallery    26 — Central   Case 

CHAMBER  ORGAN,  same  as  Plate  C\  II.     Third  view,  with  back 
panels  removed,  showing  pipes  and  action. 


244  — 


11. VXD- HOOK    OF    KEYBOARD    INSTRUMENTS 
PLATE     C  T  X 


No.  1780 


■  245 


THE    METROrOLITAX    ML'SFA'M    OF    AKT 


No.  1779 

Gallery   26 — Central  Case 

SERAPHIX'E.  Compass,  four  octaves,  from  C  to  C.  An  oblong 
oak  case,  standing"  on  four  legs,  which  fold  up  when  desired.  Underneath 
are  two  small  pedals,  one  moving  a  bellows  placed  beneath  the  instrument, 
and  the  other  opening  a  small  swell  shutter  beneath  the  case.  Keys, 
ivory  naturals,  with  black  sharps.  U.  S.  A.  c.  1840.  Maker  unknown. 
The  Seraphine  was  invented  in  1833  and  was  the  precursor  of  the  Har- 
monium. 

Lengtli,  2  feet  "jl'^  inches.     Width,  2  feet  4  inches.     Depth,  3  inches. 


246- 


TTAXD-liOOK    OF    KF.^T.OARI)    IXSTRrMF.XTS 


P  LATE     C  X 


No.  1779 


—  247- 


THE    METROPOLITAN    MUSEUM    OF   ART 


No.   2496 

Gallery   26 — Central   Case 

MELODEOX.  Compass,  three  octaves  and  two  notes — G  to  A.  A 
small  oblong  mahogany  case,  supported  on  a  black  stand  with  three  legs, 
furnished  with  two  foot  pedals,  one  attached  to  a  small  lever  on  the  left- 
hand  side  of  the  instrument,  working  the  bellows,  the  other  a  small  swell 
shutter.  Keys,  ivory  naturals,  with  black  sharps.  Germany.  19th 
Century.    Maker  unknown. 

Length,  i  foot  8j/>  inches.     Width.  7  inches.     Depth,  6  inches. 


—  248  — 


il.WD-BOOK    OF    KEYUOAKI)    INSTRUMENTS 


PLATE    CXI 


No.  2496 


249  — 


Till'.    MRTROPOLITAX    ML'SI'-UM    OF    ART 


Nos.    1522,    1 1 95,    1200 

Gallery   26  —  Central   Case 

1522.  ROCKIXG  MELODEOX.  Compass,  three  octaves— G  to  G.  A 
small  oblong  case  of  walnut.  At  the  bottom  is  placed  the  blowing  ap- 
paratus, consisting  of  a  pair  of  bellows.  By  pressing  down  the  left-hand 
side  of  the  instrument  the  bellows  are  filled,  the  lower  ones  being  dis- 
tended by  a  strong  spring,  and  !)\-  maintaining  a  rocking  motion  a  con- 
stant supply  of  wind  is  provided  for  the  instrument.  Keys,  ivory  naturals, 
with  black  sharps.  .V  small  button  on  the  top  of  the  instrument  moves 
a  swell  shutter.  U.  S.  .\.  Early  ic;th  Century.  .Maker.  Caleb  Pacard, 
Bridgewater,  Mass. 

Length,  i  ioot  8y>  inches.     \\'idth.  10' j  inches. 

The  Rocking  Melodeon  is  sometimes  called  a  "  Teter." 


1 195.  ROCKIXG  AIELODEOX.  Compass,  three  octaves— G  to  G.  Sim- 
ilar to  the  preceding,  but  tlie  case  is  more  shallow  and  the  construction 
suggests  a  little  earlier  date.  Keys,  ivory  naturals  with  black  sharps.  A 
small  pin  on  the  top  of  the  instrument  moves  a  forte  shutter.  L'.  S.  A. 
Early  19th  Century.  Maker  unknown. 
Length,  2  feet  3  inches.     W Uhli,  i   foot. 


1200.  II.\RMOX'IFLl'TE.  Compass,  three  octaves  and  five  notes — C  to 
F.  An  ebonized  wooden  case,  with  bellows  at  the  back.  France.  Late 
19th  Century.     .Maker  unknown. 

Length,  i  foot  g'/j  inches.     Width,  7  inches.    Depth.  Ci  mches. 

This  instrument  can  he  played  on  the  la]),  knee,  or  on  a  stand :  if  on 
a  stand,  the  bellows  are  worked  liy  a  pedal.  The  Flarmoniflutc  was  first 
made  in  1R52  bv  Roulon,  of  Paris. 


■  2:;o  ■ 


iiA.\i)-iu)()K  ()!•■  KI•:^•l;().\Kl)  ixstrl'.mkxts 

r  LATE    C  X  11 


No.  1522 


No.  1 1 95 


■ 

^--^y^ssi/isJlSES^SSSS^^^Blt^B^ti^^^SS^ 

i 

PWffr^^^^^^^^^^^jBfe. 

No.  1200 


TllR    METROI'OLITAX    MUSEUIM    OF    ART 


Nos.    1192,  2402 

Gallery   26 — Central   Case 

T192.  HAR]\I()XirH()K.  Compass,  two  octaves  and  seven  notes — C  to 
A.  A  small  shallow  case,  containinsj  a  set  of  free  reeds,  which  are  placed 
at  the  back.  On  the  left-hand  side  a  lirass  nozzle,  to  which  is  attached  a 
rnl)her  tube.  The  wind  supply  is  furnislied  from  the  mnuth  of  the  per- 
former. France.  19th  Century.  Maker  unknown. 
Length,  i  foot  5  inches.     Width,  9  inches. 


2402.  PORTABLE  IMELODEOX.  Compass,  two  octaves  and  four  notes. 
Small  narrow  case  of  red  mahogany.  At  the  back  a  single  bellows  ;  in  the 
front  an  air  reservoir.  Keys,  white  naturals,  with  black  sharps.  A 
doul)le  set  of  free  reeds  in  unison.  The  instrument  is  contained  in  a 
small  red  mahogany  case,  furnished  with  a  leather  carrying  strap.  On 
opening  the  cover  the  keys  are  seen,  occupying  the  length  of  the  case; 
the  hack  forms  a  bellows,  the  front  an  air  reservoir.  Beneath  the  keys 
arc  two  rows  of  free  reeds  in  unison.  England.  Late  TQth  Century. 
Maker  unknown. 

Length,  i  foot  3'::(  inches.    Width,  4' 2  inches.    Depth,  Ti'j  inches. 


■252  — 


llA.XD-noOK    OF    KKVr.OARl)    IXSTRUMENTS 


I'L  ATi£     CX  1  I  I 


Nos.    1192,  2402 


253  — 


tiil:  AiETkui'uij  tax  museum  of  art 

No.  2741 

Gallery  29 — Central  Case 

CLAVI  ORGANUM.  Compass,  four  octaves — C  to  C;  lower  C 
sharp  missing.  The  exterior  of  the  case  decorated  with  gilt  figures  in 
reHcf,  probably  Dutch  work  in  Japanese  style.  This  instrument  was 
made  by  order  of  the  Elector  of  Hanover,  afterward  George  I.  of  Eng- 
land, for  presentation  to  his  regimental  chaplain,  who  rendered  the 
Elector  an  important  service.  The  landscape  on  the  interior  of  the  cover 
represents  Schulenberg  Castle,  the  residence  of  the  Elector.  Keys,  black 
naturals,  with  white  sharps ;  the  fronts  and  sides  of  the  latter  red :  the 
black  keys  inlaid  with  metal  in  hollow  dots.  The  nameboard  inlaid  with 
ebony  and  ivory.  This  instrument  was  originally  a  harpsichord  and  an 
organ  of  forty-eight  pipes,  the  former  having  been  transformed  into  a 
piano  with  an  octave  stop :  the  action  is  early  English,  the  strings  fastened 
to  the  hitch-pins  l)y  means  of  eyes.  The  soundboard  bridge  is  furnished 
with  two  sets  of  pins  to  procure  the  bearings  of  the  strings.  The  octave 
hammers  are  on  wire  shanks,  the  others  on  wood.  The  action-jack  has 
no  escapement.  The  hammer  is  hinged  to  the  rail  with  a  slip  of  parch- 
ment. The  soundlxiard  still  keeps  the  rose.  The  vibrating  length  of 
the  longest  double  string  is  5  feet  6  inches :  that  of  the  longest  octave 
string.  3  feet  6  inches ;  the  viljrating  length  of  the  shortest  double  strings 
is -6  inches;  that  of  the  shortest  octave  string,  3  inches.  The  octave 
strings  lie  on  their  own  bridge.  The  organ  attachment  has  48  wooden 
pipes,  stopped  diapason,  8  feet  ])itch.  The  valves  are  placed  beneath  the 
lower  keyboard  and  are  operated  liy  sticker  action,  a  loose  jack  topped  by 
a  wire  screw  with  a  padded  button  depressed  by  the  kev.  The  keyboards 
are  controlled  by  two  pairs  of  l)uttons.  The  lower  keyboard  plays  the 
organ  with  or  without  the  piano,  the  upper  plays  the  octave  attachment ; 
but  tliis  may  be  "  coupled  "  with  the  lower  octave  and  organ  by  shifting 
ihc  position  of  the  keyboard.  The  name  of  the  maker  inlaid  in  metal, 
similar  to  the  decoration  on  the  kevs,  as  follows :  "  Elermans  Brock, 
Orgel  und  Instrument  Alachcr  zu  Hanover,  A.  D.  1712." 

Length,  7  feet  5)4  inches.    Height,  3  feet  7  inches. 

This  instrument  was  once  owned  by  Carl  Engel  and  belonged  to  his 
original  collection. 


—  254  — 


HAND-BOOK    OF    KEVllOAKU    INSTRUMENTS 


PLATE     C  X  I  V 


No.  3741 


—  255- 


rill'.  .Mi'.TRi  )i'(  ii.rr.w  .Misi-:r.M   ni-   art 


No.  2741 

Gallery   29 — Central   Case 

CLA\'I  ORGAN  LAI,  same  as  Plate  CXI\'.     Second  view,  showing 
organ  pipes. 


256. 


11AX1)-1;00K    Ui'    KEYIIUAKU    IXSTKLt.MliXTS 


PLATE     CXV 


No.  2741 


257- 


THE    Ail'.IKi  ilH  ilJTAX     MTSiaAl    <  >1'    ART 


No.  2803 

Gallery   29 — Central   Case 

ITANC)  W  rni  I'll'E  ORGAN  ATTACHMENT.  Compass,  five 
octaves — E  to  E.  Mahogany  case,  in  cabinet  form,  with  lines  of  black 
and  white  inlav.  Oval  openings  on  the  side  panels,  with  ornamental 
«ire  net  work  backed  w  itii  crimson  cloth  much  discolored  by  age.  Keys, 
ivory  naturals,  with  black  sliar])s.  Double  strung  in  the  bass,  the  thir- 
teen upper  notes  tri-cord,  the  remainder  bi-cord.  The  dampers  are  di- 
vided intu  treble  and  liass  sectiuns,  raised  by  two  stops  nn  the  left-hand 
side  of  the  case.  A  third  stop  operates  a  damper  for  silencing  all  the 
strings.  The  organ  attachment  extends  from  lower  C  to  F — 54  notes. 
Wooden  pipes,  8  feet  pitch,  the  lower  19  melodia  or  stopped  diapason. 
A  ])edal  on  the  right-hand  side,  also  one  in  front,  for  blowing  the  organ. 
Marks  in  the  lower  part  of  the  case  indicate  that  a  pedal  attachment  for 
thirteen  bass  notes  at  one  time  formed  part  of  the  instrument.  This  ad- 
dition was  evidently  of  rude  workmanship  and  is  now  missing.  Long 
sticker  action  connects  the  keyboard  with  the  valves.  The  pipes  are 
placed  horizontally  beneath  the  keyboard,  the  air  reservoir  placed  at  the 
side.    On  one  of  the  organ  pipes  is  a  label  inscribed  as  follows :    "  Made 

by  Eaton   Pet (?)   in  the  year  of  our  Lord,   1786."     England,     c. 

1780.  The  |)iano  bears  the  name  of  Longman  &  IJroderip,  musical  in- 
strument makers,  26  Chea])side  and  Ko.  13  Hay  Market.  London. 

Length,  5  feet  6  inches.  Height,  3  feet  i  inch.  Depth,  i  foot  11 
inches. 

Messrs.  Longman  &  Broderip  were  the  predecessors  of  Clementi  & 
CoUard  in  Cheapside,  and  John  (leibs,  inventor  of  the  "  hopjier  "  action, 
is  said  to  have  been  in  their  employ. 


258- 


HAND-BOOK    OF    KEYDOAKD    IXSTRUMENTS 


PLATE    CXVI 


No.  280,^ 


259 


THE    iMETROPOLITAX    .MUSEUM    Ol-    ART 


No.  2803 

Gallery  29 — Central  Case 

PIAXO  WITH  rirE  ORGAN  ATTACHMENT,  same  as  Plate 
CXVL  Second  view,  front  with  panels  removed,  showing  the  sticker 
action  and  air  reservoir. 


260  — 


IIAXI)  r.()(  )K    Ml'     Kl'AT.oAKI)    INSTRUMENTS 


A  i"  I-:   c  x  \  1 1 


No.  2803 


■  261 


THE    METROPOLITAN    MUSEUM    OF    ART 


No.  2776 

Gallery  29 — Central  Case 

ORGAXO  PIANO,  Compass,  three  octaves  and  a  third — C  to  E. 
Rosewood  case  in  cabinet  form.  Keys,  ivory  naturals,  with  black  sharps. 
The  most  interesting  point  in  the  action  is  the  key,  which  is  padded  at 
the  back  end  and  so  heavily  leaded  as  to  stop  the  ventil  perfectly  when 
at  rest.  The  piano  action  is  simple.  The  soundboard  carries  a  stout 
rim  for  the  hitch-pins  at  least  3J/2  inches  thick.  Bi-cord  in  the  treble. 
The  bass  strings  rim  into  a  metal  shoe  at  the  base.  Regulating  screws  on 
a  rail  in  front  of  the  hammer-butts  produce  the  escapement  of  the  hammer 
after  the  stroke.  There  is  no  back-check  to  the  hammer;  the  dampers, 
however,  are  controlled  by  two  springs,  one  of  which  on  the  spring-rail 
presses  the  damper  against  the  string.  U.  S.  A.  igth  Century.  Maker 
unknown. 

Height,  3  feet  8' 4  inches.  Width.  2  feet  ij/  inches.  Depth,  i  foot 
8  inches. 


262- 


HAND-ROOK   OF    KEYBOARD    INSTRUMENTS 


PLATE    C  X  V 1 1 1 


No.  2776 


•  263 


THE  METROPOLITAN  MUSEUM  OF  ART 


No.  2776 

Gallery   29  —  Central  Case 

ORGANO  PIANO,  same  as  Plate  CXVIII.     Second  view,  front, 
with  panels  removed,  showing  action. 


—  264  — 


HAND-BOOK   OF   KEYBOARD    INSTRUMENTS 


]  -  L  A  T  E     (    \  T  X 


No.  2776 


—  265  ■ 


THE    .\rETR()l'()LI'l".\X    Ml'Sl-.rM    ( )!•    ART 


No.  2098 

Gallery   26 — Central  Case 

ORGANO  PIANO.  Compass,  five  octaves  and  ei.s^ht  notes — E  to  C. 
A  tall,  upright  case  of  mahogany,  standing  on  four  claw-ball  feet,  with 
two  turned  pillars  supporting  the  keyboard,  and  above,  two  ornamental 
pillars,  painted  green  and  gold.  Keys,  ivory  naturals,  with  black  sharps. 
Long  sticker  action.  At  the  bottom  of  the  case  five  brass  pedals — Soft, 
Louil,  liassoon.  Drum  and  Silent.  The  organ  mechanism  enclosed  within 
the  bottom  of  the  case  below  the  keyboard,  consisting  of  two  small 
bellows  with  air  reservoir,  painted  red  and  gold,  and  worked  by  a  foot 
pedal  on  the  right-hand  side,  in  front  of  the  case.  The  sound  is  pro- 
duced by  reeds  of  the  harmonium  or  free  tv])e.  The  organ  part  of  the 
instrument  seems  to  be  a  later  addition.  U.  S.  A.  Early  iQth  Century. 
Maker  imknown. 

Height,  8  feet.     Width.  3  feet  8j/^  inches.    Depth,  1  foot  10  inches. 


—  266 


HAXD-BUOK    OF    Kl'.VHC  ).\KI )    I XSTRUMENTS 


I'LATM     (XX 


No.  2098 

—  267  — 


V 

Keyboard     Instruments      With     Sonorous 

Substances.  Glassichord,  Glockenspiel, 

Piano  Harmonica,  etc. 

Corresponding  to  Class  IV,  Division  II,  of  Handbook   No.    13 


269- 


Till':    .\li:i  K(  )1'UL1TA.\    .MLSEL'.M    U¥    ART 


No-  2854 

Gallery  25 — Central    Case 

GLASSICHORD.  Compass,  three  octaves  and  one  note.  Small, 
square  mahogany  case  resting  on  a  pedestal.  Keys  white  naturals  and 
black  sharps.  The  hammers  strike  small  plates  of  glass  arranged  in  a 
single  row  back  of  the  keyboard.  The  works  are  protected  by  a  silk 
screen.    Austria.     1752.    INIaker,  F.  T.  Leftel,  Menna. 

Length,  2  feet  2,'/j  inches.  \\'idth.  i  foot  yy2  inches.  Height,  2  feet 
6^/2  inches. 


—  270  — 


IIAXD-noOK    OF    KEVBUAKD    IXSTRUMEXTS 


PLATi'    ex XI 


No.  2854 


271 


THE    -Mli'l'RUl'ULITAX    :\IL"SEL".\1    UF    ART 


No.  2854 

Gallery   25 — Central  Case 


GLASSICHORD.  same  as  Plate  CXXl.     Secuiul  view,  willi  front- 
board  removed,  showiii"'  action. 


ll.\.\D-BUUK    Ol'     KIlYIJUAKD    IXSTKL M  F.XTS 


I' LA 'I-  !•:     CXX  I  [ 


No.  2854 


—  273  • 


THE    AlETROPOLITAN    .MUSEUM    OF   ART 


No.  2766 

Gallery  25 — Central  Case 

GLASSICHORD.  Compass,  three  octaves — F  to  F.  A  plain  case 
of  stained  wood  in  cabinet  form.  Keys,  ivory  naturals,  with  black  sharps. 
The  action  consists  of  three  tiers  of  glass,  over  each  of  which  is  a  row 
of  hammers,  all  working  downward.  Depressing  a  key  pushes  a  w^ooden 
button  some  tliree  inches  from  the  front  of  the  keyboard ;  this  in  turn 
acts  upon  a  counter  lever,  attached  to  an  abstract,  into  the  lower  end  of 
which  is  screwed  what  answers  to  a  vertical  jack.  The  hammer-butt 
passes  through  a  groove  in  this  jack,  and  at  its  right  is  a  regulating 
button,  which  was  once  united  by  a  thread  to  a  straight  spring  above. 
The  hammer,  which  is  pivoted  in  this  groove,  is  further  brought  back 
to  position  by  a  spiral  spring  attachment.  This  spring  is  placed  beneath 
the  projecting  end  of  the  hammer-butt  and  connected  with  it  by  a  bit  of 
skin,  into  which  it  is  hooked.  The  hammer-butt  is  jerked  up  (and  the 
hammer  down)  by  the  abstract  and  restored  to  place  by  the  two  springs. 
The  pressure  is  downward  on  the  hammer-head  against  the  resistance 
of  the  springs.     19th  Century.    ]\Iaker  unknown. 

Height,  2  feet  "jYz  inches.  Width,  2  feet  ^Yz  inches.  Depth,  i  foot 
lo  inches. 


274  — 


IIAXD-BOOK    OF    KFA'BOARD    IXSTRUMEXTS 


PLATE     C  X  X  T  T  I 


No.  2766 


■  275  — 


Till':  .\iK'jR()i'(jLrr.\.\'  ml'skl'.m  of  art 


No.  2766 

Gallery   25 — Central   Case 

GLASSICHORD,  same  as  Plate  CXXIII.     Second  view,  enlarged, 
shnwin"'  action  beneath  the  ke\'l:)oard. 


-276- 


H.vxi)-r.()(  )K  ()i-  Kl••.^■l;().\kl)  jxstrUiMEXts 


FT.  ATE     CXXI\- 


i.iiiiilULULillLILliJIIIJIIIIIIIII 


^ 


No.  2766 


Till-:    MI"rRO|'()I,lT.\.\    .Ml'SI'.rM    Ol"    ART 


No.  2766 

Gallery   25 — Central  Case 

GLASSICHORD,  same  as  Plate  CXXIII.     Third  view,  enlartjed, 
snowing  the  tiers  of  glass  with  hammers  in  position. 


—  278  — 


TIAXn-r,0(  )K    ()|-     Kl.\  IK  lAUl)    IXSI'KIMI'.X'I'S 


I'LATI'.     C  \  X  V 


No.  2766 


—  279  ■ 


Tilb:    .METRUl'ULlTAX    .MLSKLM    Ui-"    ART 


NOS.    I2IO,    I202 

Gallery    25 — Central   Case 

1210.  GLOCKEXSPIEL.  Compass,  two  octaves — C  to  C.  A  small  square 
walnut  case  containing  tweiit) -five  hemispherical  gongs  which,  on  press- 
ing the  keys,  are  struck  hy  little  hammers.  Keys,  white  naturals,  with 
black  sharps.     Europe.     lOth  Century.     Maker  unknown. 

Length.  I  foot  "'2  inches.  \\'iilth,  i  foot  6  inches.  Depth.  10' 2 
inches. 

Drexel  Collection. 


1202.  GLASSICHORD.  Compass,  three  octaves — C  to  C.  A  small 
sqviare  walnut  case  resting  on  a  fancy  stand.  Ke\  s.  white  naturals,  with 
lilack  sharps.  The  hammers  strike  small  plates  of  glass  arranged  in  two 
rows.    I'.  .'^.  A.     19th  Century.     Maker  unknown. 

Length,  2  feet  3  inches.     \\'idth,  I  foot  7'.  2  inches.     Depth,  8  inches. 


2S0  — 


ii,\.\i)-i;i  )()K  ui    ki;Nr,()Aki)   ixstklwiI'.x'I'S 


PLATE    CXX\'I 


NOS.   I2IO  (upper),   I202   (lower) 


281  — 


Ml' rKM)i'(  )i  rr.w   mtsrum  ol-   art 


No.    I20I 

Gallery   25 — Central  Case 

PIAX'O  HARAIOXICA.  Two  views:  figure  I,  case  open,  showing 
action ;  figure  2,  case  closed  over  action.  Compass,  five  octaves,  A  to  A. 
An  oblong  walnut  case.  The  hammers  strike  on  metal  tongues  similar  to 
those  used  in  a  musical  box.  Keys,  ivory  naturals,  with  black  sharps. 
England.  Late  19th  Century.  Makers,  B.  Cramer  &  Co. 
Length,  3  feet.    Width,  i  foot  6  inches.    Depth.  9  inches. 


—  282- 


lA.NI)  luniK    OF    KEYI'.OAKD    IXSTRUMl-.XTS 


r  L  A  T  E     C  X  X  V 1 1 


'jjUlHilliliV  ^^  ""'*■• 


No.    I20I 


—  283  — 


\I 


Musical  Accessories 


285 . 


LIST    OF    ACTIONS 

'IIk-  fullowinjr  Models,  with  the  exception  of  Xos.  11JJ4  and  ,^07  In  _^i  16 
uiL-lusive,  are  placed  with  the  instniinents  eiiilxidyini^  the  acticni  which  ihcy 
illustrate. 

KliVIiOAUI)  StKINCEL)  IXSTRI'MEXTS,  Pl.fCKED. 

nj2S-  .MODl-.I,  ()]■•  SI'l.XI'.T  OK  \  IRCIXAL  ACTIOX.  The  key-rail 
carrying-  a  jack  fitted  with  a  quill  or  leather  plectrum,  which,  when  the 
key  is  depressed,  rises  and  plucks  the  string  in  passing.  For  exani])le  em- 
ploying this  mechanism  see  No.  1209,  Plates  VIII.  IX. 

1928.  MODEL  OF  HARPSICHORD  ACTIOX.  The  same  mechani.sm 
as  that  of  the  spinet.     For  example  see  Xo.  1220.  Plates  XXIll.  .XX1\\ 

2401.  MODEL  OF  CLAVICYTlll'Rir.M  OK  UPRIGHT  liAKPSI- 
CHORD  ACTIOX.  The  same  mechanism  as  that  of  the  spinet  or  harpsi- 
chord, arranged  for  an  upright  model.  I-'or  example  see  Xo.  1224,  Plates 
XLl.XLH.' 

Kevhoard  Sirin'ged  Lxstkuments,  Struck. 

1926.  MODEL  OI-'  CLA\I(H(  )KD  ACTIOX.  The  string  struck  hy  an 
ui)right  metal  tangent  inserted  in  the  key-rail.  For  example  emi)loying 
this  mechanisu)  see  Xo.  1207.  Plate  XLIX. 

3107.  .MODl'XOh' CKISTOl'OKl  I'lAXO  ACTIOX.  1720.  This  model 
illustrates  the  action  of  the  Cristofori  Piano  .\o.  1219.  Plates  L.  LI. 

1927.  MODEL  OF  PIAXO  ACTIOX.  Primitive  \iennese  Method.  For 
example  employing  this  mechanism  see  Xo.  1197.  Plates  LV,  L\  I. 

1923.     MODEL  OF  PIANO  ACTION.     Viennese  Method.     For  example 
em])lo\ing  this  mechanism  see  Xo.  1213,  Plate  LX. 

3108.  MODEL  OF  STEINWAY  PIANO  ACTION,  showing  three-quar- 
ter iron  plate  w^ith  wooden  wrestplank.  Mrs.  JJrown  is  indebted  to  the 
kindness  and  courtesy  of  Messrs.  Stein  way  &  Sons  for  the  complete  set  of 
models  showmg  the  development  of  their  pianoforte,  i.  e.,  Nos.  3108- 


—  287  — 


THE  METROruLITAX  MUSEUM  OF  ART 


3ioy.  ^roDEL  OF  STEIXWAY  PIANO  ACTION,  showiii^tr  full  iron 
plate  covering  wrestplank. 

31 10.  MODEL^OE  STEIXWAY  I'lAXO  ACTIOX.  showing  modern  full 
iron  plate  with  Capo  d'Astro  bar. 

31 1 1.  MODEL  OF  STEIXWAY  GRAND  CASE,  showing  old  construc- 
tion of  rim  and  old  method  of  bracing. 

3112.  MODEL  OF  STEINWAY  GRAND  CASE,  showing  modern  bent 
rim,  modern  method  of  bracing  and  iron  shoe  connecting  same  with  plate. 

31 13.  MODEL  OF  STEINWAY  SOUNDING  BOARD,  showing  bridge 
and  bass  bridge. 

3114.  MODEL  OF  STEINWAY  SOUNDING  BOARD,  showing  ribbing. 
u,24.     MODEL  OF  REPETITION  PIANO  ACTION.    Steinway  Grand. 

31 15.  MODEL  OF  CHICKERING  PIANO  ACTION,  showing  over- 
strung frame  for  square  piano.  Mrs.  Brown  is  indebted  to  the  kindness 
and  courtesy  of  Messrs.  Chickering  &  Sons  for  this  and  the  following 
model.  No.  3116. 

3116.  :M0DEL  OF  CHICKERING  PIANO  ACTION,  showing  the 
Chickering  system  of  wooden  bracing  for  grand  pianos. 

Keyf,o.\rd  AA'ixd  Ixstrumexts. 

1922.  ENLARGED  ^.lODEL  OF  FREE  REED,  showing  vibrating  metal 
tongue.    Presented  by  Messrs.  Mason  &  Hamlin,  Boston. 


288- 


Appendices 

I.     Models  Illustrating  the  Action  of  the  Different  Types 

OF  Keyboard  Stringed   Instruments 

II.    Documents  Relating  to  the  Cristofori  Piano 


289 


APPENDIX    I 

MODELS    UF    AC'TK  )X 

Kl£'l  nuAKL)    SlKl.NCKU    I  .\STKl '  M  IC.\J  S,    I'lL'CKED 

Plate  CXXXTII 

THE  SPINET  (IK  \lR(iINAL 

In  the  Spinet  or  \  irginal  there  is  but  one  strings  to  a  note,  which  is 
sounded  bv  means  of  a  plectrum  fitted  into  a  jack  restuig  on  the  key-end. 
\\'hen  the  kev  is  depressed  the  jack  is  forced  through  an  opening  in  the 
jack-rail,  and  the  plectrum — a  bit  of  crow-quill  or  leather  fitted  into  a  mov- 
able tongue — plucks  the  string  in  passing.  When  the  key  is  allowed  to  rise, 
a  spring  at  the  back  of  the  movable  tongue  enables  the  jack  to  return  to  posi- 
tion without  vibrating  the  string,  which  is  immediately  muted  by  a  cloth 
damper  placed  on  one  side  of  the  plectrum.  A  strip  of  wood,  placed  in  the 
end  of  the  key  and  working  in  a  groove,  keeps  it  in  position. 

1.  Spinet  or  Virginal  Action.  Front  of  jack  showing  plectrum  (_a), 
movable  tongue  (b),  and  damper  (c)  in  position. 

2.  Back  of  jack  showing  spring  (d)  which,  as  the  jack  returns  to  posi- 
tion, allows  the  plectrum  to  pass  the  string  without  vibration. 

3.  Showing  action  of  the  movable  tongue  and  plectrum  as  the  jack  is 
returning  to  position  after  the  note  has  been  sounded. 

4.  Jack  (a),  in  position,  resting  on  balanced  key  (b). 

See  Model  of  Action  No.  1925.  For  example  illustrating  this  ])rinciple 
see  Xo.  1209,  Plates  VIII,  IX,  pages  29,  31. 


—  290  — 


I.WD-P.OOK    n|-    KI:V1'.().\R1)    IXSTRUMENTS 


ri.  A  'I'  I'.     (•  \  X  \'  I  1  I 


:b 


—  291  — 


Till".    METROPOLITAX    Ml'SEL'.M    OF    ART 


MODELS    OF    ACTION 

Kk-iIWIAUD    StRIXCED    I.VSTIU'.MKNTS,     PlUCKED. (  CONTINUED.) 

Pl.\te  CXXIX 

the  harpsichord 

Tlie  action  of  the  Harpsichord  is  identical  with  that  of  the  Spinet  or 
\'ir,s;inal.  except  that  the  latter  has  but  one  string  to  a  note,  while  the  Harpsi- 
chord has  two,  three,  and  sometimes  more  strings  to  one  note,  thereby  pro- 
ducing greater  vohnne  and  variety  of  tone. 

1.  Harpsichord  Action.  Key  (a)  supporting  jacks  {h),  which  i)ass 
through  key-rail  (c). 

See  Model  of  Action  No.  1928.  For  exanii)le  illustrating  this  principle 
see  No.  1220,  Plates  XXHI,  XXIV,  pages  67,  6y. 

2.  Clavicytherium  or  Upright  Harpsichord  Action.  Into  the  back 
end  of  the  key  (a)  is  fixed  an  upright  rod  (b)  to  which  the  jacks  (c)  are 
fastened  vertically.  When  the  key  is  depressed  the  jacks  move  forward 
through  the  jack-rail  and  pluck  the  strings  as  the  key  rises  and  the  jack 
returns  to  position. 

See  Model  of  Action  No.  2401.  For  example  illustrating  this  principle 
see  No.  1224,  Plates  XLI,  XLII,  pages  103.  105. 


—  292  — 


IIAXD-i'.ooK    OF    KE-YBOARI)    IXSTRUMEXTS 


PLATE    C  X  X  T  X 


—  203 


Till'.    MKTROI'OLITAX    Ml'SKL'.M    OF    ART 

MODELS    OF    ACTION 

Kr.vr.oARi)  Stkinoed  Instri'.ments,  Struck 

Plate  CXXX 

the  c[.a\'iciiord 

In  the  Clavichord  the  note  is  produced  by  means  of  a  tangent,  a  slender 
upright  of  wood  or  metal  fastened  to  the  key.  When  the  key  is  depressed 
the  tangent  rises  and  strikes  its  strings,  a  pair  in  unison  ( in  rare  instances 
a  single  string)  and  being  held  there,  divides  them  into  two  vibrating  parts. 
The  longer  part  sounds  the  note,  the  shorter  is  muted  by  a  strip  of  cloth  inter- 
woven among  the  strings.  In  the  earlier  clavichords  there  were  often 
more  keys  than  strings,  one  pair  of  unisons  being  struck  by  several  tangents 
at  different  points  sounding  three  or  more  notes.  To  produce  several  notes 
from  one  string  it  is  only  necessary  to  vary  its  vibrating  length  :  when  short- 
ened it  produces  tones  of  a  higher  pitch  and  vice  versa.  Thus  a  tangent 
striking  a  string  at  a  given  point  may  sound  C  and  a  second  tangent  striking 
it  a  trifle  nearer  the  bridge  a  note  a  semi-tone  higher ;  while  a  third  tangent 
striking  the  same  string  at  a  point  still  nearer  the  bridge  may  sound  a  note  an 
octave  higher,  more  or  less  as  may  be  desired.  This  principle  of  several 
tangents  striking  one  string  being  suggestive  of  a  monochord,  from  which 
instrument  the  clavichord  developed,  gave  rise  to  the  term  "  gebunden  "  or 
"  fretted."  About  the  year  1720  the  "  bundfrei  "  or  "  unfretted  "  clavi- 
chord was  introduced  by  Daniel  Faber  of  Crailsheim,  Saxony,  in  which  each 
tangent  has  its  own  pair  of  unison  strings. 

1.  Clavichord  Action — "  Gclnttuicn"  wherein  two  or  more  tangents 
strike  the  same  pair  of  unison  strings.  Tangent  (a)  fastened  to  key  (b) 
striking  strings  (c).  damper  (d). 

See  Model  of  Action  No.  1926.  For  example  illustrating  the  "  gebun- 
den "  or  "  fretted  "  principle,  i.  e.,  where  there  are  more  keys  than  strings,  see 
Xo.  1215,  Plates  XLVII.  XLVIII,  pages  117.  119. 

2.  Clavichord  Action — "Bundfrei  "  wherein  each  key  tangent  has 
its  own  pair  of  unison  strings. 

The  "  bundfrei  "  or  "  fret-free  "  principle  is  illustrated  by  Xo.  1207.  Plate 
XLIX,  page  121. 


—  294  — 


II  \\1)-I'.0<  )K    t'l- 


Kr.YlUVVRl)    IXSTRL'Ml-.XTS 


i"  L  A  V  E     (-■  X  X  X 


\^,,,,,,,r,,,,^Whrrrr'''^rm;7^ 


—  295- 


Till-:  Mi'.TKc  )r()i.rrAX  .xirsia/.M  of  art 

MODELS    OF    ACTION 

Ki:vr.c)AKi)  Stuixc.kd  Ixstuuments,  Stritk. —  (CoxTixfKn.") 

I'l.ATU    CXXXl 

THE    PIANO 

]n  tlic  liarpsiclinrd  ami  tin-  claviclmrd  we  find  the  koy  snppnrtinq;  in 
the  former  a  "  jack  "  carrying  a  quill  or  plectrum,  in  the  latter  a  "  tangent," 
each  of  which,  when  the  key  is  depressed,  is  1)rought  into  direct  contact  with 
the  string;  the  one  producing  the  note  by  "plucking"  and  the  other  by 
"  striking "  the  string.  About  the  year  1709,  however,  Bartoloinmeo 
Cristofori,  the  Paduan  harpsichord  maker,  introduced  an  action  in  which 
the  quill  or  plectrum  and  the  tangent  were  supplanted  by  a  hammer ;  this, 
when  the  ke}'  was  depressed,  was  brought  into  contact  with  a  small  lever 
which  in  turn  raised  a  second  lever,  and  the  principle  here  introduced  still 
fnniis  the  basis  on  which  the  actions  of  all  modern  pianos  are  built.  There 
are  two  pianos  by  Cristofori,  known  to  be  authentic,  still  extant  (Grove's 
Dictionary.  A'ol.  II..  p.  711,  also  Hipkins'  "History  of  the  Pianoforte,"  p. 
97)  :  the  earlier,  dated  1720,  forms  a  part  of  this  collection  (Xo.  12 19,  Plates 
L.  LIA.  the  later,  dated  1726,  is  in  the  Kraus  Collection  at  Florence,  Italy. 

1.  The  Cristofori  Action,  c.  1709.  This  diagram  shows  the  action  as 
first  introduced.  The  "  jack  "  1  which  in  the  harjjsichord  carries  the  movable 
tongue  and  plectrum)  here  apjiears  in  a  modified  fnrni  and  receives  the  name 
of  "  hopper."  because,  as  it  acts  upon  the  hamnier-biut,  it  "  hops  '"  forward 
and  back.    The  action  is  as  follows : 

"  a-a.  the  string;  b,  key  bottom  ;  c.  key  ;  d,  cushion  on  key  ;  e,  tipper  lever  ; 

f,  center-pin  of  upper  lever;  q,  end  of  Ifver.  bearing  (under)  damper  on  r. 
standard ;  p,  p,  crossed  threads  forming  hammer-rest ;  o,  hammer ;  I.  i.  regu- 
lating springs  of  g,  g,  ho]iper.  strung  on  wire  h,  h  ;  m,  hammer-bar,  in  w  hich 
turns  hammer-butt  n." — "  .\  Xoble  Art."  J'anny  Morris  Siuith.  p.  19. 

2.  The  Cristofori  Action,  1720.  The  diagram  shows  the  action  of  the 
earlier  of  the  two  specimens,  the  original  wooden  hammers  having  been  re- 
placed by  those  of  modern  shape.  Mr.  Hipkins,  in  his  "  History  of  the 
Pianoforte,"  p.  98,  describes  this  action  as  follows ; 

"  a,  is  the  key  ;  b,  the  hopper  ( liiigiictta  iiiobih" — movable  tongue,  Cristo- 
fori called  it),  c,  the  notch  for  the  hopper  beneath  an  undcr-hammer  or 
escapement  lever,  lettered  k.  This  lever,  covered  with  leather  upon  the 
end,  is  to  raise  the  hammer-butt,  d.  The  hammer-head  is  e.  The  spring  i, 
regulating  the  play  of  the  hopper  or  distance  between  it  and  the  string,  is 
regulated  by  a  small  hopper-check,  h.     The  harumer-check  is  f,  the  damper 

g.  The  damper-stop  j." 

See  Model  of  Action,  Xo.  3107. 

2l)fi  — 


iiAxn-i'.ooK  OF  KF.vr.oARn  I^•STR^^^K^■TS 


A  T  !•:    c  X  x  X  I 


■  297- 


TiiK  ^il"^R()l•(n.^^A\■   Misia'M   <  )i-   art 

MODELS    (  )!•'    ACTK  )X 

Kj;\i',(i,\i;i>  Siui  xcicd   I  xstkc-n!1--.\ts,  Stkuck. —  (  C()XTi.\rKn.) 

Platk  fXXXlI 

THE    I'lAXO 

3.  The  Zumpe  Actiox.  1760-65.  The  invention  of  Johannes  Ziimpe.  a 
German  in  the  employ  of  Shnih,  the  harpsichord  maker.  Znnipe  was  the  tirst 
to  construct  a  square  piano,  the  earhest  specimen  of  his  work  on  record  Jjeing; 
dated  1766.  (irove"s  description  of  the  Zumpe  action,  Dictionary,  \"oI.  II, 
p.  715,  is  as  follows : 

■■  In  the  key  c,  is  fi.xed  the  jack  g,  a  wire  with  a  leather  stud  on  the  top. 
known  by  the  workmen  as  the  '  old  man's  head.'  This  raises  the  hammer  o; 
the  damper,  r,  is  lifted  by  a  whalebone  jack,  v,  called  the  "  mopstick,'  placed 
near  the  end  of  the  key,  and  is  brought  l.iack  to  its  place  by  the  whalebone 
spring,  w  ;  a  third  piece  of  whalelione,  x,  ]M-ojecting  from  the  end  of  the  key, 
works  in  a  groove,  and  serves  exactly  as  in  the  clavichord,  to  keep  the  key 
steady,  there  being  no  front  key-pin.  The  two  balance-rail  key-pins  shown 
in  the  drawing  belong"  to  two  keys,  the  natural  and  sharp,  and  indicate  the 
different  balancing  desiderated  in  all  keyboards  by  the  dift'erent  lengths  of 
the  natural  and  sharp  keys.  The  dampers  were  divided  into  treble  and  bass 
sections,  raised  bodily  by  two  drawstops  when  not  required,  there  being  as 
yet  no  pedal." 

For  example  illustrating  this  principle  see  Xo.  2965,  Plate  LIT,  page  127. 

4.  The  English  Action  (E.\rlv  Broadwood),  1777.  This  improve- 
ment on  the  Cristofori  action  was  made  by  Amcricus  Backers,  a  Dutchman, 
and  perfected  by  John  Broadwood  and  his  apprentice  Robert  Stodart ;  the 
principal  feature  of  the  improvement  was  the  introduction  of  the  regulating 
button  and  screw  which  insured  direct  action. 

5.  The  Broadwood  Grand  Action.     1880. 

From  Grove's  Dictionary,  \'ol.  II,  p.  716,  we  quote  the  following  reference 
to  these  actions :  "  The  difference  in  the  two  cases  are  in  the  proportions  and 
form  of  the  parts ;  the  principle  is  the  same  in  both,  the  onl)-  addition  in  the 
present  action — and  that  not  essential — being  a  strip  of  felt  beneath  the  butt 
of  the  hammer,  to  assist  the  promptness  of  the  checking.  The  differences  of 
both  from  that  of  Cristofori  are  evident  and  important.  The  second  lever  or 
under  hammer  is  done  away  with,  and  the  jack,  g,  now  acts  directly  in  a  notch 
of  the  butt,  n.  The  regulating  button  and  screw  controlling  the  escapement 
are  at  gg.     Simplicity  and  security  are  combined." 

—  298  — 


iiAxi)  IK  X  )K  ()!•■  Kl■:^■l;(  jaki)  ixsi  urMi'.x  rs 


I'LATI'.     CX  XXII 


^T^ 


■  ^yy 


Till'.    .MI':TK()1'()LIT.\.\    ML'SElAl    UF    ART 

MoDI'J.S    ()!•    ACriO.V 

Kevuuakii  S ri^i M.icu  1  .\siru.mi;xt.s.  Siiu'ck. — (  Cu.\tixim-:l).) 

Plate  CXXXIII 

TIIK    I'lA.VU 

6.  l'Rnirri\E  ^*IF.NNESE  Action,  witlmut  cscapenicnt.  Dra\viii,q-  fmni 
Model  of  Actiun  uf  Xo.  1 197,  I'lates  L\',  L\  J.  This  action  is  similar  to  that 
found  in  nian\'  German  pianos  prior  to  the  introdtiction  of  Stein's  escape- 
ment in  1777,  and  may  be  the  invention  of  Cliristian  Enist  Frederici  of  Gera, 
Saxony,  although  there  is  some  doubt  on  this  point. — History  of  the  Piano- 
forte, p.  105. 

1!\-  the  depression  of  the  key  (c),  the  hammer-butt  (d)  is  raised  until 
it  conies  in  contact  with  a  rail  (g)  at  the  liack  of  the  keyboard,  which  results 
in  jerking  the  hammer  (  o)  U>  the  string  (a).  When  the  key  rises  the  string 
is  muted  by  damper  { r ) .  The  pedal  attachment  ( m-m  )  in  this  model  is  of 
crude  workmanship  and  apjiarently  formed  no  part  of  the  instrument  as 
originally  constructed. 

7.  Primitin'e  Escapement.  1777-17S0.  Johann  Andreas  Stein  uf 
Augsburg.    Key  (c)  :  ausloser  or  hopper  (g)  ;  hammer  (0). 

8.  Imtrox'ed  A^iennese  Action,  c.  1802.  Andreas  Streicher  and  Nan- 
nette  Stein.  Key  (c)  ;  hopper  (g)  hammer  (o)  ;  hammer-check  (p)  ; 
damper   (r). 

From  Grove's  Dictionary  (Vol.  II,  p.  717)  we  (juole  the  following  refer- 
ence to  these  actions  (Figs.  7-8).  "  It  will  be  observed  that  this  escapement 
(  l'"ig.  7)  differs  from  Cristofori's  and  the  English  Action  in  the  fact  that  the 
a.xis  of  the  hammer  changes  its  position  with  the  rising  of  the  key,  the  hopper 
— ausloser — (g)  becoming  a  fixture  at  the  back  of  the  key.  From  this  dif- 
ference a  radical  change  of  touch  took  place  and  an  extreme  lightness  be- 
came the  characteristic  of  the  \'ieiinese  action  as  developed  by  Andreas 
Streicher."  (Fig.  8.) 

For  example  illustrating  the  ini])ruved  \'iennese  Action  see  N'o.  1213. 
Plate   LX,  page   143. 


•  300  - 


iiAXi)-i;(  H  )K  ( )i"  Ki';vD(  ).\Ki)   i.\strl;.\ii:xts 


A  r  R     C  X  X  X 


r^  A 


■  301  - 


THE    METK(Jl'OLlTAx\    MUSEL'.M    (_)[•    ART 


:\iUDELS    OF    ACTION 

Kevuuaku  Stringed  Lxstruments,  Struck. —  {  Coa'tixued.) 

Plate  CXXXIV 

the  piano 

9.  Repetition  Action,  Stein  way  Grand  Piano.  In  the  Steinway 
Grand  we  have  the  piano  action  in  its  latest  stage  of  development,  the  wooden 
frame  having  been  superseded  by  one  of  metal,  a  system  of  compound  levers 
developed  to  its  highest  point  of  lightness  and  velocity,  the  brilliance  of  tone 
assured  by  rapidity  of  action. 

The  key  (c)  carries  the  jack  (a)  which  works  in  a  slot  (x)  in  the  bal- 
ancier  (e).  The  balancier  flange  (g)  ;  motive  flange  (h)  :  hammer  flange 
(i)  ;  regulating  button  for  balancier  (f)  hammer  shank  f  d)  ;  regulating  but- 
ton of  hammer  shank  (h)  ;  escapement  button  (m)  ;  hammer  head  (o)  : 
tail  of  hammer  (k)  ;  back  check  (p)  ;  jack  cushion  (n). 


■302- 


ii.wD-i'.ooK  oi"  Kl■;^■|'.(  »ARi)  ixsrurMiiX'i'S 


I.  ATI'.     CXXXiV 


303  —  ■ 


APPENDIX    11 

])(  K  I'M  i:\TS   KI-;i.A  riX'C;  to    TIIF.  tklSTOEDRI  PIANO 

Thc'followin.o;  dociiiiieiUs  have  interest  as  bearing  on  the  authenticity  of 
the  Cristofori  1  'iano.  The  first  is  a  statement  by  Signor  Diego  Martelh,  the 
last  owner,  from  whom  tlie  instrument  was  purchased  ;  the  second  is  a  permit 
granted  his  mother  by  the  National  jMuscum  of  Florence  to  visit  her  piano 
during  the  time  when  it  was  temporarily  on  exhibition ;  the  third  is  an  af- 
fidavit of  Giorgio  Ceccherini,  an  expert  in  musical  instruments,  by  whom 
the  piano  was  examined  prior  to  its  transfer. 

I. 
Statement  of  Signor  Diego  Martelli  concerning  the  Cristofori  Piano: 

"  Florence,  ltal\-,  Nov.  2y\,  1895. 

"  This  piano  was  bought  by  my  maternal  grandfather,  Dr.  F'abio  Mocenni. 
years  ago,  when  my  mother  was  about  five  years  old.  My  mother  was  born 
in  1814,  and  her  father  must  have  acquired  the  piano  between  1819  and  1820. 
It  remained  always  in  my  grandfather's  house  until  his  daughter  married 
my  father  (the  Engineer,  Charles  Martelli j.  Then  she  brought  that  piano 
into  my  family  and  always  preserved  it,  not  because  of  its  great  value,  as  she 
knew  nothing  of  it  until  ver}-  lately,  but  in  memory  of  her  dead  father,  and 
because  on  that  piano,  when  still  a  child,  she  learned  the  first  rudiments  of 
music.  My  mother,  by  family  tradition,  knew  that  this  piano  had  been  pur- 
chased by  her  father  at  a  public  sale  which  took  place  in  the  Grand  Ducal 
Palace,  in  Siena,  by  order  of  the  Minister  of  the  Household,  of  all  such  things 
as  he  considered  as  worthless  and  of  no  use.  The  discovery  that  this  piano 
is  very  valuable  was  as  follows : 

"  For  the  sake  of  economy  during  the  time  that  Florence  was  the  Capital 
of  Italy,  we  rented  the  first  floor  of  our  house,  No.  3  Via  del  ^lelarancio,  and 
occupied  the  second  floor.  In  1872,  .Signora  Martelli  (my  mother)  again 
changed  her  apartments  from  the  second  to  the  first  floor,  and  at  the  moment 
the  transfer  of  our  furnilure  was  taking  jilace  from  one  floor  to  the  other, 
Prof.  Cosimo  Conti.  a  scholar  and  an  intimate  friend  of  ours,  came  to  visit 
us.  The  professor  was  in  close  correspondence  with  Cavaliere  L.  Puliti, 
who  was  spending  a  great  deal  of  his  time  in  trying  to  discover  the  origin  of 
tlie  piano,  and  discovered  on  it.  to  his  great  surprise,  an  inscription  which 


•305  — 


THE    METRO POLITAX    MUSEUM    OF    Ak 


attested  that  it  had  been  made  by  Bartolomeo  de  Crisloforis.  He  immediately 
informed  liis  friend,  Cavahere  L.  I'uliti,  of  this  fact,  and  he  came  at  once 
to  examine  it.  Then  it  was  ascertained  that  it  was  one  of  the  rarest  and  most 
vahiable  pianos  in  existence.  We  at  once  sent  for  a  tuner  and  had  it  put  in 
good  condition,  and  the  most  distinguished  pianists  of  Italy  liave  since 
])layed  on  it. 

"  Cavaliere  L.  Puhti  pubHshed  a  l)0ok  on  the  life  of  Ferdinando  de  Medici, 
Grand  Duke  of  Tuscany,  and  in  it  he  treated  of  the  origin  of  the  piano.  In 
this  learned  book,  at  page  31,  he  mentions  the  piano  in  possession  of  my 
mother  (Signora  ]\lartelli),  which  is  now  your  property. 

■'  In  1876,  Signor  Cesare  Ponsicchi  published  a  work  entitled  '  The 
Piano:  Its  Origin  and  Evolution.'  In  his  monograph.  Signor  Pongicchi,  at 
pages  26  and  27,  speaks  at  length  of  this  piano  and  illustrates  it  at  the  end 
of  the  volume. 

"I  believe  that  the  above  information  will  satisfy  your  legitimate  curi- 
osity, and  by  indicating  to  you  the  above  published  works  to  which  you  may 
refer  for  more  detailed  information,  I  have  complied  with  your  wishes  in 
the  matter. 

"  I  remain,  very  truly. 

(Signed)  "  DIEGO  MARTELLI, 

"  Only  son  and  heir  of  Erncsta  Mocenni,  \M(iow  Martelli." 

The  two  books  referred  to  in  the  above  account.  "  The  Life  of  Ferdi- 
nando de  Medici,  Grand  Duke  of  Tuscany,"  by  Cavaliere  L.  Puliti,  and  "  Tin- 
Piano :  Its  Origin  and  Evolution,"  by  Cesare  Pongicchi,  are  now  out  of  priiU. 
and  it  is  impossible  to  obtain  them.  Through  the  courtesy  of  Signor  Martelli. 
the  Aluseum  was  enabled  to  purchase  his  own  copies,  and  these,  together 
with  the  cofra  in  which  he  kept  them,  are  now  in  the  library. 

TI. 

Translation  of  permit  to  visit  the  National  Museiun  of  Florence  at  any 
time,  granted  to  Signora  Martelli.  who  loaned  Jier  Cristofori  Pianoforte  In 
the  Museum : 

"  Xalional  Museum  of  Florence. 

"  Florence,  Sept.  9th.  1883. 

"  The  noble  lady  Ernesta  Martelli,  licing  the  owner  of  the  old  Pianoforte 
De  Cristoforis.  loaned  by  her  to  the  National  Museum  of  Florence,  is  granted 
permission  to  enter  the  museum  at  any  time  she  may  wish  to  see  the  condition 
of  lier  Pianoforte. 

(Signed)  "  The  Director. 

"  C.  DONATT." 


—  3  of) 


II  WD-l'.ooK    ()|-     Kii^BOAKD    1  XSTkr  M  I'.XTS 


III. 

Copy  of  afiid.ivit  of  Gic)rg^io  CcccluTini  rctjaiiiiii!;  his  ixainiiiatiini,  etc.. 
of  the  C'ristnfori   I'iannfdrte  : 

■"  Kiiisdoni  (if  hah'.         | 
"  C  ity  ot   j-lnrcncc,  ) 

"  1.  ( iiorj^id  C  occherini,  of  the  firm  of  (1.  &  C.  C'ecchcrini,  dcak-rs  in  pianns 
am!  musical  instruments,  successors  to  Messrs.  Dussi.  estaljjished  in  the  _\ear 
cijjhtecn  hunchTd  and  tliirty-four.  in  iJ'e  City  of  h'loreiice.  Kingdom  of  Italy, 
examined,  in  the  months  of  May  and  June,  eighteen  hundred  and  ninety-five, 
at  various  times,  an  ancient  piano,  the  original  i^roduction  of  the  late  "  Cristo- 
fori,"  the  hest  manufacturer  of  ])ianos  in  the  early  ])art  of  the  eighteintli 
centurv,  said  Cristofori  having  heen  the  inventor  of  jjianos. 

"  I  do  solemnly,  sincerelv  and  trulv  declare  that  1  am  an  e.\])erl  in  the  line 
of  musical  instruments,  and  that  the  aforementioned  piano  commands  a  ])rice 
of  a  rare  piece  of  antiquity,  and  as  such  was  sold  to  Mrs.  John  Crosby  I'rown. 
of  New  York.  Cnited  .States  of  America.  I  do  finally,  solemnly,  sincerely 
and  truly  declare  to  the  hest  of  my  knowledge  and  recollection,  that  the  piano 
aforesaid  was  bought  for  presentation  to  a  Musenni  in  \ew  'S'ork. 

■'  I'"lorcnce,  Januar\-   |-th.  A.  D.   i8r)6. 

(Signed)  ■■  (,|(")R(,1(  )  CI-',C(,III-;R1.\'1.  |i..s.]" 

"  I  I..S.  I    .Subscribed  and  swdrn  to  ibis   171I1  da\  nl    (aniiar\  .   iSijd,  before  ine, 
(Signed)  ■■  C.   r.l-:i.M(  )\T  l)\\  IS. 

"  Cnitetl  States  Consul  at   I'lorence,   ItaK'." 


—  307  — 


Indices 

Index  of  Proper  Names 
General  Index 


3oy  — 


INDEX      I'  R  O  P  i:  R     NAMES 


Albrecht.  Cliarles iSj 

Astor,  George  1 50 

Bach   16.  1  JO 

Beethoven  . 1 4J 

Bellot.  Louis   84 

Bereio.  Joannes.  Antonins  j_> 

Bie.  Oscar   15 

Bonafinis.  Franciscus  32 

Boulon    250 

Broadwood  &  Sons,  John 156.  160 

Brock,  Hermans J54 

Bull    15 

Burnry     18 

Byrd     15 

Chapman.   Thomas    J40 

Chickering   J87 

Christophoris.  Bartolomaeus  de  (Cris- 
tofori,  Bartolommeo  di  Francesco). 

1(1.  18,  19.  122.  -'87 

Clementi  &  CoUard 144.    164 

Clementi  Muzio   ib4 

Couchet.  Joannes  (Jean  )    18.     88 

Cramer  &  Co 2S2 

Crehore,    Benjamin 186 

Uietz.  Christian    106 

Dohiictsch.  Arnold   42 

Domcnico  di   Pesam   (  Oomenicus  Pc- 

saurensis  )    ih.  j8 

Kngel,   Carl    254 

F,rard  Freres  &  C'n 176 

Evenden  &   Sons    17J 


l'"abcr,  Nicholas  14 

Ferrini.  Joannes 18.     (jO 

Fetis    12O 

Frederick  the  Great   19 

l''riederici    298 

Galpin,  Rev.  ¥.  W jjj 

Gcihs.  John  164.  258 

Gibbons,   Orhmdo    16 

Gray,  TItomas 126 

Grove,  George  19,  122 

Grovvehis,  Ludovicns   17,  42 

Ciuido   d'Arczzo    14 

I  hirt  &  Sons,  S 202 

Hauslais,  Lanrentius 218 

Haward,  Charles  (Carolns  ) ....  17.  50,     52 

Hawkins    19.  206 

Hipkins,  A.  ] 11,     13 

Hitchcock,  Thomas  17.  52,     54 

Jesse,  John  Christopher 120 

Kirkman,  Jacobns  &  Abraham 78 

Kratis,  .Mexander   92 

Lang,  Carl   136 

Leftel.  F.  T 270 

Leoni,  Jo.    Panlus 76 

Liszt.   Franz    176 

Longman  &  Broderip 144,   11)4,  258 

Lcitid  Bros 192 


310  — 


INDEX  pr()1'1-:r   \".\mi:s 


\ 

Mason  &  Hamlin 287 

Mason,  Rev.   VVni 126 

Mcrscnnc    98 

Meyer.  Conrad   IQO 

Mozart    142 

Mussard   198 


Stein  : 

Andre   (Malthans  Andreas) 142 

John  Andreas 138,  142 

Steincrt.   Morris   17.  42 

Stcinway    302 

Slodart,  \V.  W lC)6 


Packard.  Calel) 250 

Pepys 17 

Pet—  (?),  Eaton.' 258 

Praetorius  15.  17,  24,  98 


Tallman,  John    196 

Trasontinns.  .'Mcx 112 

Tschiuh    ••••   156 


Raffacllo   d'Urhino    18 

RoUig,  Angust   200 

Ruckers : 

Cristofel    i/.     40 

Jean   18,     88 

Hans 18.     42 


Vander  Becst !/•  42 

Vattcr,  Anton  138 

Volhini,  Fredcrico 92 

X'oll.  U-nrg 212 


Western.    Thomas 152 


Shiidi   (Tschndi)   156 

Silberniann    I9      Zentis.  Jerome  de 62,     66 

Sodi,  Vincentius 9-2      Znmpc,   Johaimes 126,  152 


•3" 


II 


GENERAL     INDEX 


Actions,   Models  of.     See  Models. 

Aeolian  Harp   I4 

Appendices    289 

Bible  Regal 14,-12.  214,  216,  232 

Box    Piano    200 

Bundfrei  116.  1 18,  120 

Cabinet  Organ 218,  220.  222.  2J4.  230 

With  Removable  Spinet 218,  220, 

222,  224 

Chamber   Organ 240.    242,  244 

Check    19 

Clavecin   15,  58,  144 

Clavecin    Buffet 102 

Clavicembalo    (Clavicembali) 15 

Clavicembalo  Verticale. .  .98,  100.  102,  104 

Clavichord.  .  II,  12,  14,  15,  16,  17,  19,  24, 

112,  114,  116,  118,  287 

Clavicytherium    17.  287 

Claviharp   106 

Claviola   19,  206 

Claviorganum    254,  256 

Concertina   15 

Double  Harpsichord  18 

Double  Spinet  or  Virginal 17,  42,     44 

Drawings  illustrating  Piano  Actions.  .   290 

Drone    15 

Dulcimer  11.  1 10 

Escapement    19 

English  Post-Restoration  Model, 

17,  24,     52 

Gebunden  16,  n6,  118 

Geibs  Hopper  Action 164,  258 

Genouilleres 138 


Glassichord.  ..  .270,  272,  274,  276,  278,  280 

Glockenspiel    280 

Gravicembalo   col    Piano   e  Forte..,.     16 
Guide's    Hexachord    System 14 

Halberstadt  Organ,  The 14 

Hammer  ig 

Hand  Stops  18 

Harmoniflute    250 

Harmoniphon    252 

Harmonium 11,  12,  246,  266 

Harpichordum    58 

Harpsichord.  .11,  12,  15,  16,  17,  18,  19,    58, 

60,  62,  64,  66,  68,  70,  72,  74,  76,    78, 

80,  82,  84,  86,  88,  90,  92,  94,  96,   98, 

100,  102,  104,  254,  287 

Double-banked    18 

Triple-banked    17 

Upright 17,  98.  too,  102,  287 

Hexachord  System,  Guido's     14 

Hurdy  Gurdy 13,      14 

Hydraulic  Organ 13 

Hydraulikon    14 

Introduction    13 

Iron  Frame 19,  287 


Jacks 


19 


Key  Modes   14 

Keyboard  Instruments,  Plucked  (Sec- 
tional Heading) 21 

Keyboard  Instruments,  Struck  (Sec- 
tional Heading ) 109 

Keyboard  Instruments,  Bowed  (Sec- 
tional Heading) 205 

Keyboard  Wind  In.struments  (Sec- 
tional Heading)    211 

Knee  Levers 138 


—  312  — 


GENERAL    IXI^EX 


l.lllc    13 

Mflodcon   248,  250,  252 

Rocking    250 

Portable    252 

Models  of  Action. .  11.  19,  287,  290,  292,  294, 
206.  2q8.  .100.  ,102 

Monochonl    14 

Octave  Spinet 17,  4(1.  48 

Octave  Virginal  46 

Organ..  1 1,  12,  13,  14,  15,212,214,216,218, 

220,  222,  224,  226,  228,  230,  232,  234, 

236,  238,  240,  242,  244,  254,  256,  258, 

260,  262,  266 

Bible  Regal..  .14.  212,  214,  216,  232,  234 

Book 234,   236,  238 

Cabinet 218,  220,  222,  224,  230 

Chamber 240,  242  244 

Halberstadt   14 

Hydraulic  13 

Mildenberg    15 

Portative  15.  ^^6 

Positive   15.  228 

Regal   212.  214,  216 

St.    Blaise    15 

St.  Egidius    15 

St.  Salvator    15 

Water    13 

With  Removable  Spinet, 

218,  220,  2Z2.  224 

Organo  Piano 262,  264,  266 

Organ    Pipes 13,     14 

Orphica  200 

Ottavina   17 

Pianino  180 

Piano..  II.  12,  122,  124,  126,  128,  130,132, 
134.  136,  138.  140,  14^.  144.  146.  148. 
150,  152,  154,  156,  158,  160,  162.  164, 
166.  t68,  170.  172,  174,  176.  178,  180. 
182.  184.  186.  188,  190  192,  194.  196. 
254,  258.  287 

Box    200 

Harmonica  282 


Organo   262,  264.  266 

Portable   144,   146.  148 

VVor'kbox    . .  ■. 202 

Pianoforte   16,   18,  19 

Upright 19,  160,  162,  166,  168.  170 

Piano  Harp  198 

Plectrum  (Plectra) 15.  19 

i'lenius'    Svifell 16 

Plucked  Strings  (Sectional  Heading).  21 

Point  d'orgue 15 

Portable  Melodeon 252 

Portable  Piano 144,  146,  148 

Portative  Organ 15,  226 

Positive   Organ 15,  18 

Prefatory    Note II 

Psaltery 11.12,  15 

Regal 14,  212,  214,  216.  232,  234 

Registers   15,  18 

Rocking  Melodeon 250 

St.  Blaise  Organ,  The 15 

St.  Egidius  Organ.  The 15 

St.  Salvator  Organ,  The 15 

Scraphine  246 

Sonorous    Instruments 11,.    12 

Sonorous       Instruments       (Sectional 

Heading)     269 

Upright  Harpsichord.  .17.  98,  100.  102,  287 

Upright  Pianoforte 19,  160,  162, 

166,   168.  170 


\'enetian  Swell,   Shudi's. 


16 

Violin    13 

Virginal.  . .  11,  12,  15,  16,  17,  24.  26,  32.  34. 

36.  38,  40.  42,  44,  46 

Double   42,  44 

Octave  46 

Water  Organ 13 

Wrest  Pins 17,  26,  52,  56 

Wind   Instruments    (Sectional    Head- 
ing)       2TI 

Workbox  Piano 202 


—  313- 


67a  SI 


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